Gabriel Faure: A Guide to Research (Composer Resource Manuals)

GABRIEL FAURÉ

composer resource manuals volume 49 garland reference library of the humanities volume 1375

Cover folio, “Le papillon et la fleur,” Op. 1, No. 1 © Bibliothèque Nationale de France, Paris.

GABRIEL FAURÉ A GUIDE TO RESEARCH

EDWARD R.PHILLIPS

GARLAND PUBLISHING, I NC. TAYLOR & F RANCIS GROUP NEW YORK & LONDON

A MEMBER OF THE

2000

Published in 2000 by Garland Publishing, Inc. A Member of the Taylor & Francis Group 19 Union Square West New York, NY 10003 This edition published in the Taylor & Francis e-Library, 2003. Copyright © 2000 by Edward R.Phillips All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Phillips, Edward R. Gabriel Fauré, : a guide to research/Edward R.Phillips. p. cm.—(Composer resource manuals; v. 49) (Garland reference library of the humanities ; vol.1375) Includes bibliographical references and indexes. Discography: p. ISBN 0-8240-7073-9 (alk. paper) 1. Fauré, Gabriel, 1845–1924—Bibliography. 2. Fauré, Garbriel, 1845–1924—Discography. I. Title. II. Series. ML134.F29 P55 1999 016.780’92 21—dc21

99–045622 CIP

Cover photo courtesy of James Camner, La Scala Autographs, Inc. ISBN 0-203-90671-3 Master e-book ISBN

ISBN 0-203-90749-3 (Adobe eReader Format) ISBN 0-8240-7073-9 (Print Edition)

In honor of three friends— for Bernard M.L.Katz, for Mario J.S.G.F.Champagne, and for Stephen C.Willis, in memoriam.

Composer Resource Manuals

In response to the growing need for bibliographic guidance to the vast literature on significant composers, Garland is publishing an extensive series of research guides. This ongoing series encompasses more than 50 composers; they represent Western musical tradition from the Renaissance to the present century. Each research guide offers a selective, annotated list of writings, in all European languages, about one or more composers. There are also lists of works by the composers, unless these are available elsewhere. Biographical sketches and guides to library resources, organizations, and specialists are presented. As appropriate to the individual composer, there are maps, photographs, or other illustrative matter, glossaries, and indexes.

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Contents

Acknowledgments

xiii

Chapter 1: A Biographical Introduction Chapter 2: Works Compositions Songs and Duets Sacred Works Secular Choral Works Piano Works Chamber Works Orchestral Works Stage Works Harp Works Didactic Works Miscellaneous Works Doubtful Works Editions Literary Works Criticism: Music and musicians Enquêtes Interviews Prefaces to monographs and editions Miscellaneous

ix

3 7 7 8 13 16 16 20 22 23 25 25 26 26 27 27 27 31 33 36 39

x

Contents Correspondence Collections Articles

40 40 44

Chapter 3: Primary Sources Canada France Germany Great Britain Sweden Switzerland United States

55 58 59 113 114 114 115 115

Chapter 4: Bibliography Life Monographs Encyclopedia articles Biographical articles, general histories, and memoirs Obituaries and tributes at the time of Fauré’s death Other tributes Fauré and the Niedermeyer School Fauré, the organ, and the Madeleine Fauré and the Conservatoire Fauré and Brahms Fauré and Debussy Fauré and Proust Fauré and Ravel Fauré and Saint-Saëns Fauré and Schmitt Fauré, personal philosophy, and religious belief Fauré and Belgium Fauré and travel Fauré, patrons, and business affairs Fauré as critic Works Assessments of style, technique, and historical position Fauré’s influence on later composers Technical discussions Songs and duets Sacred works

139 140 140 148 152 167 176 181 183 184 193 194 195 197 198 198 199 200 201 202 203 203 203 239 243 252 288

Contents Secular choral works Piano works Harp works Chamber works Orchestral works Stage works Miscellaneous pieces Exhibition catalogs Discographies Miscellaneous Oddities

xi 296 297 313 314 332 335 382 382 383 384 387

Chapter 5: Afterword—Directions for Research

401

Appendix A: Collected Source Materials Appendix B: Contents of Association des amis de Gabriel Fauré: Bulletin and Etudes fauréennes Appendix C: Collections of Essays, Special Issues of Periodicals Appendix D: A Check-list of Masters Theses Appendix E: Useful Recordings Author Index

403 407 411 417 419 423

Acknowledgments

This research guide has depended for its existence upon the kindness of many people and the efficiency of a number of institutions, and I acknowledge their help with much gratitude. Without the assistance of the staff of the Bibliothèque Nationale de France, my research there would have been much more time-consuming and much less successful. I spent most of my time in the Département de la musique, and I thank its director, Catherine Massip, and its librarians, particularly Pierre Vidal, Françoise Granges, Mihnea Penesco, Elisabeth Messaouy, Françoise Duplessis, and Bernard Bardet. I offer a special word of gratitude for the cheerfulness of the magasiniers who regularly searched for obscure periodicals and made me last-minute photocopies—I remember especially Mme Basque, Jean-Luc Bourda, and Jean-Claude Genin. My research has taken me to other libraries, as well, and I thank their staffs, some of whom I know by name: Bibliothèque de l’Opéra and Bibliothèque de l’Arsenal, Paris; Staatsbibliothek zu Berlin— Preussischer Kulturbesitz (Dr. Goldhan); Houghton Library, Harvard University; Beinecke Rare Book and Manuscript Library and Music Library, Yale University (Ken Crilly, Cathy Mansi, and Vincent Giroud); McLennan Library, McGill University; National Library of Canada (Stephen Willis); Regenstein Library, University of Chicago; Stanford University Library; Harry Ransom Center for the Humanities, University of Texas (Dell Hollingsworth and Linda Ashton); Sibley Library, Eastman School of Music (Dr. Goldberg); Pierpont Morgan Library (J.Rigbie Turner and Mrs. Dupont); New York Public Library, Lincoln Center; Library of Congress (Carol Lynn Ward Bamford); Isabella Stewart Gardner Museum, Boston (Susan Sinclair and Troy xiii

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Acknowledgments

Moss); Metro Toronto Reference Library (G.Grant); Music Library, University of Western Ontario (Lisa Philpott); Music Library, University of Toronto. I have also corresponded with the staffs of libraries and archives who have sent me material: at the Archives Nationales (Paris), Marie-Hélène Clabaut, Florence Clavaud, Christine Nougaret, Henri Zuber; at the Bibliothèque Royale Albert Ier (Brussels), Bernard Huys; at the Archives de la Ville de Bruxelles, Léon Zylbergeld; at the Università di Bologna, Dott. Gianmario Merizzi; at the British Museum, Neal Chadwick; at the Musikaliska Akademiens Bibliotek (Stockholm), Anna Lena Holm; at the Nydahl Collection, Stiftelsen Musikkulturens Främjande (Stockholm), Robert Holmin; at the Fondation Martin Bodmer, Bibliotheca Bodmeriana (Cologny-Geneva), Martin Bircher; at the Bibliothèque publique et universitaire (Geneva), Philippe Monnier; at the Bibliothèque Louis Notari (Monaco), Hervé Barral. I thank, too, the mayor of Muret, France, and the staff of the Musée de Muret. Material in private collections has been made available to me, and for their many kindness I thank Mme Philippe Daudy, Dr. and Mrs. Daniel Drachman, Oliver Neighbour, and Anabel Brieff. I am also grateful for information provided by the late Louis Krasner. I owe a special debt of gratitude to the librarians and staff of McLaughlin Library, particularly those of the Interlibrary Loan Department for many requests and many, many favors: Paul Stack, Marlene Robertson, Lorilynn MacKenzie, Rhonda Taylor, Wendy Langlois, Rob Bowman. I thank Bernard Katz for advice on bibliographic method and, together with Pamela Carter O’Rielly, for unending moral support. A virtual army of colleagues has helped me by consulting sources, finding obscure articles, suggesting items for the bibliography, alerting me to primary sources in public and private collections, verifying information, translating material, and providing valued advice. I thank Jean-Michel Nectoux, who has been generous in information about manuscripts; Mimi Segal Daitz; Bryan Simms; James and Sally Bick Grier; Yves Gérard; Mary Cyr; Alison Stonehouse; Stephen McClatchie; Sabina Ratner; Steven Huebner; Paul Cadrin; Murray Dineen; Richard Parks; Karen Fournier; Edward, Maura, and Katharine Rice; Carlo Caballero; Jacek Misterski; Patric Senson; Len Adams; Patricia MacPherson; Mary Woodside; Alan Rosenbaum; and Andrew Stedman. Michel Duchesneau has inconvenienced himself often to provide information, photocopies of articles, and the like—I offer him

Acknowledgments

xv

particular thanks. I have welcomed the insights and observations of Patricia Harton McCord, a former student of Pierre Bernac, on items dealing with performance practice of vocal works. I thank members of Gabriel Fauré’s family, Nicole and Huguette Réveillac, for gracious permission to use copyrighted material. I apologize to my editors at Garland—Guy Marco, Leo Balk, Soo Mee Kwon, Richard Wallis, Elaine Bernstein, Tania Bissell, Marie Ellen Larcada—for the long time it has taken to produce this book and thank them for their help. Funding for research and equipment has come from public and private sources. I acknowledge the financial support of both the National Endowment for the Humanities and the Social Sciences and Humanities Research Council of Canada and assistance in this regard from Wayne Marsh and Carole Stewart. I thank Gladys Phillips for a grant for computer equipment. Finally, it is difficult to find words to express the deep debt of gratitude I owe Mario Champagne without whose help and support this book would never have been finished. A NOTE ABOUT NUMBERING Bibliographic items are numbered consecutively through the text. When reference is made to a work together with a translation of it, the item numbers are separated by a virgule—Items 96/101. Reference to a specific page of a work is separated from the item number by a colon— Item 101:532 or Items 96:529/101:532. Page references to a text within that item’s annotation are parenthesized. Manuscript sources in Chapter III bear the call numbers (if any) of the libraries in which they are held. Collections and special issues of periodicals in the appendices are not numbered. Southampton, Massachusetts August 1998

GABRIEL FAURÉ

CHAPTER 1

A Biographical Introduction

Gabriel Urbain Fauré was born 12 May 1845, in Pamiers in the south of France, and although Paris was his home from the age of nine, he maintained contact with his family and the Ariège region throughout his life. Legends abound concerning Fauré’s early contact with music1; in contrast, detailed historical information is available about his formal education in Louis Niedermeyer’s École de musique classique et religieuse, an institution which prepared musicians for the calling of organist and choirmaster but also insisted that they be literate men and receive training in the humanities. The strict, conservative curriculum of the Niedermeyer school, which Fauré entered at the age of nine, was broadened for him by his contact with Saint-Saëns, who became a lifelong friend. Fauré’s first employment after leaving school at the age of twenty was as organist of Saint-Sauveur in Rennes; dismissal from the position in 1870 allowed him to leave a provincial backwater and return to Paris as organist at Notre-Dame de Clignancourt. After brief military service in the Franco-Prussian War, Fauré served even more briefly as organist of Saint-Honoré d’Eylau until forced to flee Paris during the Commune. He spent the summer of 1871 teaching composition in Switzerland where the Niedermeyer school had fled during the conflict. Upon his return to Paris later that year, Fauré became choir organist of SaintSulpice. In 1877 he assumed the post of choirmaster at the Madeleine and, in 1896, succeeded Dubois as organiste titulaire. In the same year, he was appointed by Théodore Dubois to Massenet’s chair in composition at the Conservatoire, a position denied him in 1892 by Dubois’s predecessor, Ambroise Thomas. As well, Fauré had acquired 3

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Gabriel Fauré: A Guide to Research

the post of inspector of musical education in 1892 which he held until 1905. He also wrote musical criticism regularly for Le figaro from March 1903 until the First World War. All of these duties, to which can be added the teaching of private lessons, were necessary for Fauré to earn a living, but he resented the time they took from composition, often relegated to vacations. And, with his appointment as director of the Conservatoire in 1905 in the wake of the scandale Ravel, Fauré found his time absorbed by administrative obligations. 2 Moreover, while the future for music education in France was improved by his efforts—the reforms he initiated at the Conservatoire were certainly timely—he unfortunately could no longer influence the musical present as personally and directly as when he numbered among the students in his composition class Ravel, Kœchlin, Roger-Ducasse, Boulanger, Schmitt, Enesco, and others. Fauré was pushed to retire from the Conservatoire in 1920 because of his advanced age, his ill health, and the misery which had afflicted him for years (even before his appointment as director): his deafness. The loss of his hearing took the form not only of diminished volume but also of pitch distortion which grew worse the higher or lower away from middle range was the pitch. Tragically, Fauré never heard many of his late compositions except in his imagination. His retirement also brought him financial difficulties; friends made him gifts, and the National Homage at the Sorbonne in 1922 was organized to raise funds for Fauré as well as to honor him. Honors did find Fauré. He won the Prix Chartier for chamber music twice, in 1885 and 1893. He was made Chevalier of the Légion d’honneur in 1890; he was promoted to Officier in 1903, Commandeur in 1910, and Grand Officier in 1920 and was awarded the order’s Grand Croix in 1923. Fauré was elected to the Institut de France in March in 1909, an honor to which he had aspired for some time and to which he attached particular importance.3 However, in spite of official honors,4 Fauré did not gain the general popularity enjoyed by his contemporaries who wrote for the stage. It was not until the composition of Pénélope that Fauré even began to shake off the label of salon miniaturist which his reputation has never completely succeeded in escaping. The measure of this obscurity, if it can be so called, can be taken in the effort it cost his friends and associates to arrange a state funeral at his death on 4 November 1924 and by the initial reaction by François Albert, minister of public education, to the request: “Fauré? Qui est-ce?”5

A Biographical Introduction

5

Fauré’s personal life was not uncomplicated. As a relatively young man of thirty-two, he became engaged to Marianne Viardot, daughter of the celebrated singer, Pauline Viardot. The breaking of this engagement several months later apparently caused Fauré considerable emotional distress. In 1882 he married Marie Fremiet, daughter of the sculptor, Emmanuel Fremiet. This union produced two sons, Emmanuel (1883– 1971) and Philippe (1889–1954), but while Fauré held his wife (and her father) in great respect and confided in her about his career, their relationship became a marriage in form only. Fauré was involved with a number of other women, including Emma Bardac (who became the second wife of Claude Debussy), but his most important relationship with a woman was with Marguerite Hasselmans, who was his mistress for the last twenty-four years of his life. Fauré’s compositional style has proven difficult to classify. Some music historians consider him a figure of the nineteenth century, a traditionalist, even a neo-romantic; others consider him part of the twentieth century—at the least, a predecessor of modern French music or, at the other extreme, a quiet revolutionary and a great influence upon France’s musical future. Describers of Fauré’s style find it a unified musical language from the beginning to the end of his career yet at the same time postulate a development within that style which permits Fauré’s works to be divided into three periods.6 Most musicologists and critics do agree that the restraint and elegance of Fauré’s compositional style made him the quintessentially French composer; somewhat paradoxically, they also concur that while Fauré was indebted to certain musical ancestors and musical traditions (Gounod and the romance, for example) and while the classicism of his style evoked earlier music (that of Mozart and the French baroque), he was throughout his life an independent. Alone among French composers of his time, for example, he escaped the influence of Wagner’s music—he admired Wagner’s accomplishments, but that admiration remained outside his own music.7 That Fauré’s music is not easily accessible to the listener has led critics and commentators not only to highly metaphorical language in their description of Fauré’s works but also to the often false assumption that externals had a profound effect on Fauré’s composition. Those who have seen the similarity between Fauré’s personality and his compositional style—a restrained and elegant surface hiding a passionate nature—have assumed a causal relationship. Others have found details of his childhood or expressions of his distress over his relationship with Marianne Viardot in this or that piece. As implicit

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Gabriel Fauré: A Guide to Research

justification for this stance, such writers often cite Fauré’s comment that in the slow movement of the Second Piano Quartet, he recalled a sound of bells from his childhood; they would do well to balance that remark with the answer given by Fauré when he was questioned as to under what beautiful sky he had conceived the beginning of the Sixth Nocturne: “Under the Simplon Tunnel.”8 Much of Fauré’s music, especially the late pieces, remain little played and little known—as a result, his reputation as a salon composer of pleasant music continues even among educated musicians. One reason often cited for this music’s lack of popularity is that it is “too French to travel.” Yet, Fauré and his music did travel during his lifetime—to Belgium, to Great Britain, and to Russia where he and it were well received. It is more likely that the difficulty of much of Fauré’s music for the listener and the demands it places upon him or her are the principal reasons for its omission from concert programs and for a misunderstanding of Fauré’s place in the history of French music. NOTES 1

See item 101:4f. Nectoux indicates (item 101:371) that the pressure of his administrative position lessened with his reappointment in 1910: “From there on his position as a director was secure enough for him to take time off whenever his creative work made it necessary.” 3 “Membre de l’Institut” is the only title on his tombstone. 4 Some of the honors were foreign: Fauré was awarded Le Grand Cordon de l’Ordre de Saint-Charles by Prince Albert I of Monaco (see Comœdia, 6 March 1913) and, thanks to Albéniz, the Order of Isabella the Catholic in 1908. 5 See item 101:467, and item 93:15. 6 Yves Gérard argues for a bipartite division (item 95) while others, like Robert Orledge (item 106), suggest refinements and subdivisions of the tripartite model. 7 One can cite the use of what amount to Leitmotive in Pénélope; but the manner of their use is not Wagnerian, and the piece itself certainly is not so. 8 From Philippe Fauré-Fremiet’s biography of his father (item 91), 72f: “A quelqu’un qui lui demandait où et sous quel ciel merveilleux il avait conçu le début du sixième, il répondit: ‘Sous le tunnel du Simplon’.” 2

CHAPTER 2

Works

COMPOSITIONS Compositions are listed by opus number within genres; works without opus number (WwO) are listed at the end of the relevant genre regardless of date of composition or publication. Publication information and dating are after Nectoux (items 96/101) except where noted. Unpublished works are indicated simply by a blank space in the appropriate column; date of composition is followed by year of publication. The poet or librettist is indicated (in parentheses after the title) for the stage and vocal works. The existence of a primary source, whether holograph, sketch, non-autograph copy of score or parts, or annotated published score, is indicated by the siglum M, and multiple primary sources of this sort by Mm (see Chapter 3). Primary sources to which other authors specifically refer but which have not been located are indicated by the symbol M?. For other details such as information regarding dedicatees and first and subsequent performances, see Nectoux (items 96/101); for material which Fauré used in more than one work, see Orledge (item 106, Appendix B).

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Works

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EDITIONS 1.

Bach, Johann Sebastian. Le clavecin bien tempéré. Révision par Gabriel Fauré. Paris: Durand, 1915.

In his editorial preface, Fauré indicates a return to the purity of Bach’s text and the omission of the alterations and added performance markings which characterized recent editions; ironically, his example of one such alteration (in the problematic opening of the fifth prelude of the second book) indicates that musicians of the time anticipated current wisdom regarding baroque performance practice. Fauré cautions performers against literal interpretation of tempo markings given the difference between the harpsichord and the piano and, citing Schumann, warns against bravura playing which can “destroy the essential musical character” of a piece. 2.

——. Œuvres complètes pour orgue. Révision par Gabriel Fauré. Paris: Durand, 1917–1920.

Fauré’s editorial preface expresses his view that Bach’s organ works are not well-served by being denied the full resources of modern instruments; in the specific matter of registration, however, he does suggest that the performer make an effort using ingenuity and, particularly, taste to find sonorities approximating the stops of baroque organs. (Fauré’s position on performance practice is certainly representative of his time, but readers should consider that the academic style of performance which Fauré here opposes was probably no more “authentic” and may have been quite unmusical.) See item 277. 3.

Schumann, Robert. [Works for piano]. Paris: Durand, 1916– 1924. Published in thirty-seven volumes, titled individually.74

LITERARY WORKS Criticism: Music and musicians Scholarly opinion differs about the importance of Fauré’s critical writing: some suggest the he was too gentle in his appraisals for them to offer much of substance to the modern reader, while others find that in spite of Fauré’s discretion, his writings offer valuable insights.75

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Gabriel Fauré: A Guide to Research [Fauré] was not a natural critic…. His natural kindness and broadmindedness predisposed him to see the positive aspects of a work, and he had no inclination to polemics. When he disliked a composition, he preferred to remain silent. His criticisms were colourless, and interesting only to those who knew how to read between the lines. (Item 131:11) In [his] musical criticisms…, Fauré sought to praise the good points in a composer’s work rather than stress its faults. His forthright statements in private letters make some of his press criticisms look bland, but this does not make his opinions any the less perceptive…. (Item 106:229)

Nonetheless, Fauré could be sharply critical when the occasion warranted, as in this review from Le figaro of 7 November 1904: M.Colonne nous faisait entendre hier, deux Danses, de M.Debussy, l’une sacrée, l’autre profane, dont le caractère de danse—profane ou sacrée—et l’intérêt musical m’ont semblé également contestables. … On y retrouve done, à profusions, les mêmes singularités harmoniques, curieuses et séduisantes parfois et, parfois aussi, simplement désagréables. (5)

Or as in this one from Le figaro of 21 November 1904: Le concert avait débuté par l’ouverture de Benvenuto Cellini—ouverture aux thèmes médiocres, de forme baroque et de sonorité vulgaire, que le public a, d’ailleurs, froidement accueillie. (5)

Fauré served as music critic for Le figaro from 2 March 1903 to 1914,76 and certain of these short essays were reprinted in the collection, Opinions musicales (see item 4). The bibliographies of various biographies of Fauré include a few of the very many columns from Le figaro which were not reprinted; in these cases the criteria for selection are not apparent, and none of these individual columns are considered here. However, Fauré’s writings which appeared elsewhere are cited below in chronological order. 4.

Opinions musicales. Edited by P.-B. Gheusi. Paris: Éditions Rieder, 1930. 174pp.

Works

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Editor’s note explains criteria for selection of writings which are grouped by composer and include discussions of the music of: Berlioz, Bizet, Brahms, G.Charpentier, Chausson, Dukas, Duparc, Franck, Gluck, d’Indy, E.Lalo, Leoncavallo, Liszt, Magnard, Mascagni, Massenet, Mendelssohn, Messager, Mozart, Puccini, H.Rabaud, Rameau, Ravel, E.Reyer, Rimsky-Korsakow [sic], Saint-Saëns, R. Strauss, Wagner, and Weber. See also item 361. 5.

Champigneulle, Bernard. Les plus beaux écrits des grands musiciens. Paris: La colombe, 1946.

The section devoted to Fauré’s critical writing (377–92) includes articles on a variety of topics almost all of which are included in item 4. 6.

“Un grand interprète de Mozart, Joachim.” Musica 43 (April 1906):63.

Laudatory biographical sketch on the occasion of Joachim’s third annual concert tour of Paris; although Fauré notes that Joachim has become a great advocate of the music of Brahms, there is no mention of the Mozart of the title! 7.

“Lucienne Bréval.” Musica 64 (January 1908):3.

A tribute to a singer who can and does act, who is versatile, and who has exhibited “de la dévotion et du respect pour les maîtres qu’elle interprétait.” Bréval is the subject of the cover photo of this issue which profiles many singers: there is also an article by Debussy on the soprano, Mary Garden. 8.

“Jeanne Raunay.” Musica 64 (January 1908):10.

An article similar to item 7 which praises Raunay’s artistry noting her success as a performer of both opera and Lieder. 9.

“Edouard Lalo.” Le courrier musical, 15 April 1908, 245–47.

A tribute to an underrated composer who was admired by many and who encouraged such musicians as Duparc and d’Indy. Revealing perhaps his own tradition, Fauré suggests that Lalo’s study of the works of Haydn, Mozart, Beethoven, and Schubert had more influence on him

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Gabriel Fauré: A Guide to Research

than did his teacher, Baumann; compares his music to that of SaintSaëns and Franck and commends his rhythmic inventiveness. 10.

“André Messager.” Musica 72 (September 1908):131–32.

An article dealing with Fauré’s early teacher-student relationship with Messager at the Niedermeyer school and with Messager’s character and career. Fauré gives a brief synopsis of Messager’s style. The issue contains several other articles about Messager, including one by the composer himself. 11.

“M.Charles-Marie Widor.” Comœdia illustré 1, no. 7 (1 April 1909):203.

One of a pair of small articles (see also item 267) which Fauré and Widor wrote about each other after Fauré’s narrow defeat of Widor for membership in L’Institut de France. Fauré praises Widor and describes their acquaintance and Widor’s career in composition; he also indicates that while Widor composed in many genres and was appreciated by connoisseurs, his fame with the general public grew after he began composing for the stage. 12.

“Discours de M.Gabriel Fauré [Funeral oration for Raoul Pugno].” Unpublished, 1914.77

Fauré, representing the Conservatoire, traces Pugno’s career as composer, teacher, and virtuoso. 13.

“Camille Saint-Saëns.” La revue musicale 3, no. 4 (1 February 1922):97–100.78

A memorial tribute by Fauré to his friend and mentor, SaintSaëns, first as an inspiring teacher of piano (and, de facto, of composition) at the École Niedermeyer and secondly as the most “complete” French musician of his time; praises Saint-Saëns’s youthful interest in “la musique pure” when the only route to fame was through music for the stage; mentions his devotion to the works of neglected masters as well as to new and controversial compositions79; credits him with being the force behind the establishment of the Société nationale; defends his music against criticisms of its being too cerebral.

Works 14.

31 “Eugène Gigout.” In Hommage à Eugène Gigout, 21 Mars 1923. Paris: Floury, 1923. 56pp.

Booklet published as a tribute to Eugène Gigout on the occasion of the sixtieth anniversary of his artistic career, 21 March 192380; contains a facsimile of a manuscript by Gigout, a list of his compositions, and a list of subscribers. Fauré’s tribute81 traces Gigout’s career as composer, organist, teacher, and champion of plainchant and describes his friendship with Saint-Saëns, Franck, and Gounod; Fauré’s reference to the use of modes in certain of Gigout’s compositions (24) is relevant to the debate about the extent of the influence Fauré’s training in modal plainchant accompaniment at the Niedermeyer school may have had on his own music (see items 524, 529, and 555). Enquêtes Periodicals would occasionally invite prominent composers and performers to express their opinions on musical issues. Fauré responded to a number of these requests, to some by letter and in other cases by interview; in chronological order. 15.

“La réforme de la musique religieuse: Opinions de MM. C. Saint-Saëns, Gabriel Fauré, G.Houdard, A.Guilmant.” Le monde musical 15 February 1904, 34–36.

Fauré had already commented on the Motu proprio in a letter to the editor of this journal (January 1904; reprinted November 1924, 369). This response (35) reiterates his notion that, on the one hand, the reform did not go far enough—that plainchant sung in unison is the only proper church music—and that, on the other, choosing the art music of the sixteenth century as the standard for ecclesiastical music because it seems simple in comparison to more recent music is absurd. Fauré insists that it is impossible to say which style is truly religious and which is not. An editor’s note reminds the reader that Niedermeyer’s pupils had done more to reform church music than “toutes les tapageuses exécutions S aint-Gervai siennes.” 16.

“La critique musicale.” Le gaulois, 30 October 1904, 3.

In his brief contribution, Fauré expresses his opinion that the successful critic is someone who has a lifelong experience with music and who is capable of keeping an open mind.

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Gabriel Fauré: A Guide to Research

17.

“La musique moderne italienne.” Comœdia, 31 January 1910, 1.

Fauré expresses his dislike of verismo in very strong terms; deplores the brutality and lack of taste inherent in such operas as Cavalleria Rusticana and Pagliacci which may produce great profits for the theaters but which have a deleterious effect on the orchestral musicians and singers who perform them—he suggests, indeed, that having performed these works, these musicians will have a difficult time playing Mozart again! His opinion of the music is shared by others respondents (including Debussy) and by L.Borgex, the author of the column. 18.

“La musique étrangère et les compositeurs trançais.” Le gaulois, 10 January 1911, 4.

Fauré, together with a number of other prominent composers, is interviewed by Louis Schneider about the campaign begun by certain musicians of the time against foreign music in general and Italian music in particular. Fauré expresses his view, as director of the Conservatoire, that the prejudice of directors of theaters for Italian works has limited the exposure of other music—notably French compositions—and that the selection criteria for Italian music should be as strict as those which have traditionally and detrimentally been applied to French works. He suggests, as well, that theaters which are supported by public funds should import fewer foreign performers and, instead, do more to advance the careers of young French musicians. 19.

“Sous la musique que faut-il mettre? De beaux vers, de mauvais, des vers libres, de la prose?” Musica 101 (February 1911):38.

Except for dismissing the notion that a composer should set mediocre poetry, Fauré avoids the actual question in favor of describing the composer’s role in the setting of text: to underscore the essential feeling of the poem and only secondarily to indulge in word painting. He states further that while he has found composing music for the texts of certain poets such as Victor Hugo and Leconte de Lisle difficult, the poems of Verlaine lend themselves to music.

Works

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Interviews In alphabetical order by author or title. 20.

“Le compositeur de Prométhée à Montpellier.” Le petit méridional, 21 March 1900.

Source not located. 21.

Crucy, François. “Les grands figures contemporaines: Gabriel Fauré.” Le petit parisien, 28 April 1922, 1–2.

Fauré speaks of his studies, of his early career, and of his friendship with Saint-Saëns; discusses his relationship to “le wagnerisme” and to the founding of the Société musicale indépendante; and makes brief reference to the composition of Prométhée and Pénélope and to the notion that the Requiem is a “pagan” work. It is clear that Crucy considers Fauré a great composer and an underappreciated innovator. 22.

Gandrey-Rety, Jean. “Souvenirs sur Pénélope” Comœdia, 10 November 1910, 4.

The author reproduces a conversation with Fauré of several years before in which the composer recounted the circumstances of the “genesis” of Pénélope: a lunch with Lucienne Bréval and Raoul Gunsbourg. 23.

Jaboune [Jean Nohain]. “Gabriel Fauré.” In Les grands hommes quand ils étaient petits, 69–76. Paris: Flammarion, 1925.

Fauré’s account of some of his earliest memories; includes the story of the old, blind woman who encouraged his first attempts at playing the harmonium and who is here credited with persuading Fauré’s father to send him to the Niedermeyer school. 24.

Jaspard, Sébastien. “Les célébrités artistiques à Monte-Carlo: Une interview de M.Gabriel Fauré.” Monaco revue, 5 January 1913, 154–56.

In the course of this interview conducted in mid-December of 1912, Fauré touches on various aspects of the composition of Pénélope and of arrangements for its premiere including: the fact that he was at the time completing the orchestration for the last act; his high opinion of the conductor, Léon Jehin; the extent of his involvement with the casting

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Gabriel Fauré: A Guide to Research

and set design; the choice of Monte-Carlo for the first performance; and his intention to return to “la musique pure” rather than continue composing opera. He also repeats the story of the lunch with Bréval and Gunsbourg. Jaspard provides background information some of which is useful; however the tone of his writing does in places become unbelievably precious—for example, Fauré’s cigarette is characterized as “describing capricious, perfumed spirals” with its “opalescent smoke.” 25.

Méry, Jules. “Avant-Premières, le Théâtre de Monte-Carlo: Pénélope.” Unidentified press cutting, 2 March 1913.82

In this interview, published two days before the premiere, Fauré repeats the story of the lunch with Bréval and indicates that the lead role is designed for her; extols the libretto; and praises those responsible for other aspects of the production. He also makes the interesting comment that although the composition of the opera had to be relegated to summer vacations over a period of five years, he was, without the slightest difficulty, always able to pick up where he had left off working the year before. 26.

Mouleng, Jean. “Une interview de M.Gabriel Fauré.” Revue musicale de Lyon 9, no. 14 (14 January 1912):388–90.

A retelling with commentary of an interview with Fauré which appeared in the Dépêche de Toulouse. Fauré comments on the musical events of 1911 and mentions Magnard’s opera, Bérénice, the influence of Les ballets russes on dance and ballet music in France, and developments at the Conservatoire; he makes no comment on the assertion that Debussy’s influence on younger composers is waning. 27.

Nède, André. “Le nouveau directeur du Conservatoire.” Le figaro, 14 June 1905, 4.

An announcement of Fauré’s appointment as director of the Conservatoire together with a short interview; Fauré is evasive about his plans for the Conservatoire, limiting his remarks to saying that he has often thought about the curriculum and that he would be open-minded and seek a balance between tradition and current taste, between classicism and modernity; the reviewer ends by reminding his readers of the range of Fauré’s compositional output.

Works 28.

35 Schneider, Louis. “A l’Opéra de Monte-Carlo: Avant Pénélope—Interview de M.Gabriel Fauré.” Unidentified press cutting, 1913.83

Both the interview and its publication can be dated approximately from internal evidence: the author mentions that at the time of the interview itself, Fauré was about to leave for Monte-Carlo, which he did in midFebruary of 1913; the first paragraph mentions that the premiere of Pénélope (4 March 1913) “will occur in a few days.” The source is unknown, but Schneider was involved with a number of publications in 1913 including Comœdia, Le gaulois, and Annales politiques et littéraires. This short article does little more than reiterate the reason Fauré gives for attempting the genre of opera late in his career: that, thanks to the famous lunchtime conversation with Bréval and Gunsbourg, he finally found a libretto which inspired him. Fauré emphasizes this simple fact by the wry comment that he has certainly not been working on the opera “since infancy.” 29.

Valbelle, Roger. “Entretien avec M.Gabriel Fauré.” Excelsior, 12 June 1922, 2. Reprinted in Association des amis de Gabriel Fauré: Bulletin 12 (1975):9–11.

Most of this short interview is devoted to well-known biographical information; but Fauré also speaks of his participation in the salons of Pauline Viardot and of his preferences in music (Mendelssohn, Gounod, and Debussy, among others). 30.

Vuillemin, Louis. “En l’absence du directeur du Conservatoire, M.Gabriel Fauré nous parle de la S.M.I.” Comœdia, 20 April 1910, 1–2.

Vuillemin sought Fauré’s response to an article by Charles Tenroc (Comœdia, 18 April 1910, 4) dealing with the founding of the Société musicale independante and containing a brief interview with Vincent d’Indy, director of the Société nationale de musique; both d’Indy and Fauré insist that the new society will be of benefit to music, but it is clear that while d’Indy only affects not to be concerned with the politics underlying the founding of the S.M.I.—dismissing the new organization as something of little importance—Fauré is truly apolitical, is interested only in the promotion of music, and does not understand why the two societies need to be in competition. (The title of Vuillemin’s article

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refers to his having interviewed Fauré after office hours and thus having reported the opinions not of Fauré as director of the Conservatoire but of Fauré as private individual.) Prefaces to monographs and editions Fauré contributed prefaces to a number of monographs and editions of music; in chronological order. See also the prefaces for Fauré’s own editions of Bach, above. 31.

Huré, Jean. Dogmes musicaux. Paris: Éditions du monde musical, 1909. 462pp.

The book is a collections of essays about music, written between 1904 and 1907, dealing with a wide variety of topics from scale structure to aesthetics. In his preface (5–7), Fauré indicates that the book’s principal aim is to combat the rigidity of unmusical “dogmas” which seek to stifle creativity in composers and other musicians; suggests that the reader without a “perfect” training in music would do well to let Huré separate these dogmatic pronouncements from the rules which do matter, “les grands principes fondamentaux…qui régissent la création d’une œuvre d’art quelconque.” Fauré hints that he does not always agree with the author’s point of view; but he praises Huré’s clarity and honesty and pays him the compliment of saying that the book will make the reader think. 32.

Philipp, Isidore, ed. Nouvelle édition des œuvres classiques pour piano. Paris: Ricordi, c. 1910.

Having expressed his very strong opinion that no education—in the humanities, the sciences, or the arts—is strong or complete if it ignores the past, Fauré goes on to praise Ricordi’s new editions of keyboard music from the baroque through Chopin and Schumann for the opportunity they offer pianists to know earlier music. He lauds the editors’ consultation of the original manuscripts (“autant qu’il a été possible”) as well as their analytical notes and technical explanations dealing with such concerns as baroque ornaments and pedalling in Chopin. 33.

Auriol, Henri. Décentralisation musicale. Paris: E.Figuière et Cie., 1912. xiv, 256pp.

In his preface (v–ix), Fauré makes a case for the book’s argument for the decentralization of music in France: while French literature and art for

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more than a century have developed national rather than regional styles, there are regional aspects of the arts which should be preserved and, in the case of music, can be only by paying attention to education in provincial centers as well as in Paris and by the encouragement of regional theaters and symphonic societies. 34.

Jean-Aubry, Georges.84 La musique française d’aujourd’hui. Paris: Perrin et Cie., 1916. xiii, 306pp.

Fauré’s preface,85 in which he diplomatically but firmly disagrees with the author’s curious and dogmatic opinions, reveals not only the gentle side of the composer’s personality but also his reasoned approach to music and musical politics. Fauré takes Jean-Aubry to task for his simplistic dismissal of German musical ideals (inspired probably by wartime chauvinism), for his narrow restriction of truly French music to that which is descended from Rameau and the seventeenth and eighteenth-century harpsichordists (that is, which bears no taint of German formalism), and for his rejection of any “utilitarian” music. Fauré completes the preface by speculating about the future of French music after the war: he hopes for a return to clear thought and “la forme sobre et pure.”86 Besides the chapters on French and German music and the origins of French keyboard music, the body of the book includes sections on individual composers (both of Fauré’s generation and younger), performers, and poets such as Verlaine and Baudelaire. In the brief essay on Fauré, the author describes him as charming and quintessentially French but underappreciated because he has written little for orchestra or the stage. In his references to Fauré’s use of nuance and the unorthodox manner by which he reaches his “conclusions,” Jean-Aubry shows an appreciation for Fauré’s subtlety and self-assurance as a composer; however, his perceptions are much obscured by his extravagantly florid and sentimental writing style. 35.

——. French Music of Today.87 Translated by Edwin Evans. London: Kegan Paul, Trench, Trubner & Co, Ltd., 1919. xxix, 262pp.

A translation of item 34; the section, “Les Sortilèges des Soirs,” is omitted and a chapter on modern French music in England has been added. Of interest is the translator’s preface which praises Jean-Aubry and echoes his views of German music.

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36.

Vuillermoz, Émile. Musiques d’aujourd’hui. Paris: G.Crès, 1923. viii, 228pp.

Fauré’s preface is brief and praises the enthusiasm and knowledge of the author who, as a critic, has shown interest and support for the development of modern music over the preceding twenty years. The individual essays in this volume appeared previously in various publications; the majority of them treat a single work of a composer (most well-known to the modern reader). The subject of others range from a discussion of “progress” in music to a consideration of jazz. The two essays dealing with music by Fauré appeared in Le temps on 26 October 1920 (3) and 2 December 1921 (5). In the first, which discusses Mirages, Vuillermoz describes Fauré as an “éveilleur” in the history of music who has moved the art forward by increasing its vocabulary. Mirages represents Fauré’s style purified—a style which is daring and intelligent beneath a timid and charming surface and characterized by allusion and ellipsis governed, nonetheless, by underlying logic. Vuillermoz’s discussion concentrates on Fauré’s harmonic usage and his skill in setting the French language and expressing the meaning of its poetry. Vuillermoz’s essay is worth reading because he is more specific than his contemporaries about the harmonic and rhythmic means by which Fauré succeeds; but the modern reader will lament the lack of references to examples in score. Omitted here are the original first two paragraphs of the second essay which praise the Second Piano Quintet as a masterpiece and lament its slow acceptance by a shallow public. Vuillermoz suggests that the refined quality of chamber music suits well Fauré’s style; concentrates, again, on Fauré’s harmonic usage and praises his ability to accomplish extraordinary things with ordinary resources; mentions, as well, Fauré’s rhythmic subtlety and his solution to the difficult problem of combining piano and strings in one texture. The author also makes the interesting comment that Fauré, together with Debussy and Ravel, has managed within the context of modernity to preserve melody. 37.

Marliave, Joseph de. Les quatuors de Beethoven. Paris: F. Alcan, 1925. Published in English as Beethoven’s Quartets, translated by Hilda Andrews. Oxford: Oxford University Press, 1928. Reprint. New York: Dover, 1961.

In his preface, dated April 1924, Fauré stresses the need for a study of this kind and outlines the tasks necessary to accomplish it; praises

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Marliave’s ability as a critic, speaking of “l’acuité de son sens critique,” but suggests that had he lived to revise his work he might have made some changes. Miscellaneous 38.

[Autobiographical sketch]. Unpublished, [after 2 June 1896, before 5 April 1903].

A very brief autobiography included in a letter to an unknown recipient88; dated from internal evidence, including the mention of several compositions, positions, and awards. 39.

“Autour de Pénélope?’ Comœdia, 9 November 1912, 2.

On 7 November 1912, Le temps announced that the Paris premiere of Pénélope would be at the Théâtre des Champs-Elysées since the Opéra had been determined an inappropriate venue and the season at the Opéra-Comique already determined; in a brief interview published the following day in the same newspaper, Albert Carré, director of the Opéra-Comique, indicated that his house had abandoned Pénélope because of the cost of importing singers capable of singing the principal roles yet blamed Fauré for going back on his word to have his opera produced at the Opéra-Comique. This letter refutes, in no uncertain terms, M.Carré’s assertions, already hotly contested the previous day by Louis Vuillemin (“Pénélope et les prétendants…,” Comœdia, 8 November 1912, 3; item 1091). 40.

“L’Association nationale des anciens élèves du Conservatoire de musique et de déclamation: Discours de M.Gabriel Fauré.” La musique pendant la guerre 2 (10 November 1915):20–22.

Remarks offered by Fauré at a ceremony honoring alumni of the Conservatoire killed during the first part of the First World War; echoing Bruneau who spoke before him, Fauré says he feels as if these fallen, whose musical development he and his colleagues had aided and whose dreams they had shared, were his children. 41.

“Appel aux musiciens français.” Le courrier musical, 15 March 1917, 133.89

An appeal for French composers of the Société musicale indépendante to put aside their differences with those of the Société nationale; cites

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Gabriel Fauré: A Guide to Research

the support of his appeal by such composers as Alfred Bruneau, Debussy, Duparc, d’Indy,90 and Messager as a guarantee that the S.N. will be open to all and no longer “un fief particulier.”91 42.

“Souvenirs.” La revue musicale 4, no. 11 (October 1922):3–9.92

A reminiscence by Fauré of his education at the École Niedermeyer: traces the career of its founder, Louis Niedermeyer; describes the curriculum and compares it with that of the Conservatoire of the time. He also touches on the difficult question of what music is appropriate to sacred circumstances. Fauré’s comments about the value and influence of chant and other early music may add fuel to the debate about how much his own music can be described as modal (see, among others, items 524, 529, and 555). CORRESPONDENCE No attempt is made here to catalog Fauré’s correspondence; this task, to the extent that it can be accomplished, has been done by several scholars—most notably, Jean-Michel Nectoux (see item 48). Further, as Nectoux himself has predicted (item 53:359), new sources come to light from time to time.93 Rather, here are listed in chronological order secondary sources which deal with Fauré’s correspondence. Collections 43.

Lettres intimes. Edited by Philippe Fauré-Fremiet. Paris: La colombe [later, Éditions Bernard Grasset], 1951. 299pp.

Letters from Fauré to his wife dating from July 1885 to October 1924; in spite of the title, the letters—organized chronologically—have been selected to illuminate Fauré’s career; commentary by the editor introduces each chapter and places the correspondence in the context of Fauré’s compositional output. Important.94 44.

Review: Amerongen, Alex van. “Brieven van Gabriel Fauré.” Mens en melodie 6, no. 4 (April 1951):115–18.

A non-critical review (more an announcement of the collection) welcoming the information on compositional process which letters can add to biographical fact; characterizes Fauré as the last great classicist

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and suggests that his most important works are from the First Piano Quintet Op. 89 onward. 45.

The Musician’s World: Letters of the Great Composers. Edited by Hans Gal. London: Thames and Hudson, 1965.

A short section (397–400) of excerpts of ten letters first published in Lettres intimes (item 43); Fauré is also mentioned in a letter by Elgar to Frank Schuster (418). 46.

“Correspondance: Soixante ans d’amitié (1862–1921).” Revue de musicologie 58, nos. 1 & 2 (1972):65–89, 190–252 and 59, no. 1 (1973):60–98. Compiled and edited by Jean-Michel Nectoux.95 Reprint. Paris: Société française de musicologie, 1973, 133pp.

A collection of 137 letters, the complete known correspondence between Saint-Saëns and Marie and Gabriel Fauré; the editor carefully describes his methodology, annotates the correspondence, and contributes a substantial essay which traces the complex personal and professional relationships between the two composers and discusses the similarity and differences in their compositional styles and their places in the history of French music. Important. 47.

Review: Eckart-Bäcker, Ursula. Die Musikforschung 30, no. 2 (1977):255–56.

A favorable review which describes the publication as an “informative reference work” for research in nineteenth and early twentiethcentury music. 48.

Correspondance. Compiled and edited by Jean-Michel Nectoux. Paris: Flammarion, 1980. 367pp. ISBN 2–08–064259–6

A collection of more than 200 letters selected for their value to musicological research; departures from the generally chronological order of material are detailed in the introduction which also outlines organizational and editorial method; the last chapter, “Fauré le novateur [Fauré the Innovator],”96 is an overview of the composer’s style and his place in the transition from tonal to atonal music; carefully researched and richly annotated; illustrations, general index, index of correspondents, bibliography of sources. Very important.

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49.

Review: Bailbé, Joseph-Marc. Revue de musicologie 67, no. 1 (1981):111–12.

A review which praises the organization of the book and the scholarship of the editor. 50.

Review: Kneif, Tibor. Neue Zeitschrift für Musik 142, no. 3 (May-June 1981):301–2.

A review which, while favorable, concentrates on the nature of the letters themselves and what they do and do not reveal about Fauré as a composer and as a person. 51.

Review: Orledge, Robert. Music and Letters 62, nos. 3–4 (JulyOctober 1981):354–55.

A review quite detailed in its praise; urges an English translation of the collection (see item 53). 52.

Review: Daitz, Mimi S.Notes 38, no. 1 (September 1981): 63–64.

Organization and scholarship are again highly praised as is the care taken with the “visual aspect” (the illustration and binding) of the book. 53.

Gabriel Fauré: His Life through his Letters. Compiled and edited by Jean-Michel Nectoux. Translated by J.A.Underwood. London: Marion Boyars, 1984. 378pp. ISBN 0–7145–2768–8

A translation of item 48 with a few emendations including the addition of Fauré’s famous last letter to his wife. 54.

Gabriel Fauré: A Life in Letters. Translated and edited by J. Barrie Jones. London: B.T.Batsford Ltd., 1989. 215pp. ISBN 0–7134–5467–9

Intended as a complementary volume to item 53 and overlaps only slightly with it; includes translations of letters, with commentary, from four published sources (see items 43 and 46 as well as items 66 and 67 which are not otherwise easily available) and collections of unpublished material in the Bibliothèque Nationale; organized chronologically; indices, facsimiles, illustrations; the only source in English for most of the material.

Works 55.

43 Review: Sams, Jeremy. Times Literary Supplement 4494 (19–25 May 1989):557.

The reviewer discusses little of the editor’s role but rather concentrates on the material which, like Fauré’s music, is imbued with secrecy and modesty, revealing little of the man or his compositional process. 56.

Review: Horton, John. Music Teacher 68 (June 1989):43.

Comments on the letters but does not review the book. 57.

Review: Smith, Richard Langham. Musical Times 130, no. 1759 (September 1989):543–44.

A rather neutral review which criticizes the book for not living up to the biographical implications of the title; suggests that the collection is an introduction to Fauré complementing the Nectoux (item 53) which “is of far more use to scholars….” 58.

Review: Holloway, Robin. Tempo 171 (December 1989):43.

Although the reviewer finds a few details of the collection to applaud, he finds that it suffers in comparison with Nectoux’s larger effort (items 48/53); and appears to wonder why either collection was compiled since “Fauré’s letters are frankly lightweight” and “best left in a drawer….” 59.

Review: Stahura, R.Choice 27, no. 8 (April 1990):1332.

A very brief review that notes the difference in purpose (and, therefore, selection of material) between this collection and Nectoux’s (items 48/ 53); notes, as well, that Jones provides less extensive annotation than Nectoux. 60.

Review: Orledge, Robert. Music & Letters 71, no. 2 (May 1990): 270–71.

A review which deals frankly, but more sympathetically than item 58, with the differences between this collection and the larger work by Nectoux (items 48/53); praises certain details and complains about others (such as the stilted quality of some of the translations and the actual selection of material); corrects a few small errors.

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Articles 61.

“Lettres à une fiancée: Août-Septembre 1877.” Edited by Camille Bellaigue. Revue des deux mondes 98 (15 July 1928): 911–43.

Twenty-five letters written to Marianne Viardot to whom Fauré was engaged in 1877; nine of these are included among the eleven letters to Viardot translated in Jones (item 54), and one of the nine is also included in Nectoux (items 48/53). Bellaigue’s scholarly stance is not comparable to that of later scholars: he omits certain passages in the correspondence without indicating that he has done so— Nectoux and Jones (with one clearly documented exception) reproduce the full text of these items—and his brief, sentimental introduction ends with the fanciful idea that the Requiem was composed eleven years after the end of the Fauré-Viardot engagement as a lament for the relationship. Important for the letters not otherwise available. 62.

“Trois lettres de Gabriel Fauré.” Edited by André-Charles Coppier. Candide 6, no. 293 (24 October 1929):13.

The letters were written by Fauré to Thérèse Roger, wife of the editor. The first (23 August 1881) was sent to Roger when she was fifteen and encourages her in her musical studies and includes a parody by Fauré of “Ah! vous dirai-je, maman!”; the second, reproduced in Nectoux, is without date97 and describes a concert which included the Theme and Variations Op. 73 which are dedicated to Roger; the third letter (also without date) is a diplomatic request that Roger sing “une ennuyeuse mélodie de Mme Maddison.” The editor’s brief introduction recalls a conceit attended by Fauré which included the Requiem and “la première audition du Roi David d’Honegger.” 63.

Dulac, Edouard. “Lettres à la cousine.” Revue régionaliste des Pyrénées 22, no. 89 (July 1939):133–38.

A short article on Fauré and Duparc whom Dulac calls “les créateurs du lied français”; recounts Fauré’s visit to Cauterets in 1877 to take the waters and quotes from the composer’s letters to Marianne Viardot written during this trip (already published for the most part, as Dulac notes, in item 61); lays the blame for Fauré’s broken engagement on Pauline Viardot’s wish for an opera composer as son-in-law.

Works 64.

45 “L’amitié de Gabriel Fauré et de Vincent d’Indy.” Edited by Gustave Samazeuilh. Mercure de France 327, no. 116 (1 August 1956):755–59.

Samazeuilh refutes the notion that d’Indy and Fauré were ever on less than friendly terms by citing a number of affectionate letters from d’Indy to Fauré over a period of more than thirty years; believing Fauré’s letters to d’Indy to be lost, he provides anecdotal evidence of Fauré’s respect for d’Indy. 65.

“Blonde et tendre Octavie….” Le guide du concert et du disque, special edition, 3 October 1958,98 270–71.

A letter to Vincent d’Indy in the form of a humorous poem by Fauré. 66.

“Deux lettres de Gabriel Fauré à C.Debussy.” Edited by François Lesure. Revue de musicologie 48, nos. 1 & 299 (1962): 75–76.

Two letters from 1910 and 1917 requesting that Debussy participate in two concerts, playing his own works for piano. 67.

“Cinq lettres inédites de Gabriel Fauré à son fils Emmanuel.” Edited by Jean-Michel Nectoux. Association des amis de Gabriel Fauré: Bulletin 9 (1972):6–10.

Letters dating from 1908 to 1914 which mention the composition of Pénélope and, obliquely, Le jardin clos and make brief comment on the music of Franck and Ravel; four are translated in Jones (item 54). 68.

“Autour de quelques lettres inédites de Robert de Montesquiou, Charles Kœchlin, et Gabriel Fauré.” Edited by Jean-Michel Nectoux. Association des amis de Gabriel Fauré: Bulletin 11 (1974):7–11.

A series of letters from December 1902 concerning de Montesquiou’s intention to lecture on Fauré’s music during a trip to the United States; Fauré asks Kœchlin to satisfy de Montesquiou’s request for a detailed but non-technical description of Fauré’s instrumental style, a task which proves difficult for Kœchlin.

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69.

“Inédits: Deux lettres de Gabriel Fauré à Emmanuel Chabrier.” Edited by Jean-Michel Nectoux. Association des amis de Gabriel Fauré: Bulletin 13 (1976):17–18.

The only extant letters from the correspondence between Fauré and Chabrier; dating from 1885 and 1889, both make reference to Chabrier’s opera, Gwendoline. 70.

“Albéniz et Fauré: Correspondance inédite.” Edited by JeanMichel Nectoux. Travaux de I’lnstitut d’études ibériques et latino-américaines 16–17 (1977):159–86.

The most important of Fauré’s letters to Albéniz given by his widow to the Biblioteca Central de Barcelona,100 as well as letters by Fauré to Albert Carré and Mme de Saint-Marceaux concerning Albéniz and to Albéniz’s wife and daughter; Nectoux provides an introduction which discusses the friendship between the two composers, compares their compositional styles, and speculates on Fauré’s possible influence on Albéniz. 71.

Kœchlin, Charles. “Correspondance.” Edited by Madeleine LiKœchlin. La revue musicale 348–50 (1982).

Includes correspondence between Kœchlin and Fauré as well as letters to others which make reference to Fauré and his compositions.101 72.

Depaulis, Jacques.102 “Dix-huit lettres inédites de Gabriel Fauré à Roger-Ducasse.” Revue de la Société liégeoise de musicologie 2(1995):53–72.

An annotated edition of letters from Fauré to Roger-Ducasse which, as the editor indicates, reveal the almost paternal relationship Fauré had with his pupil. See also the following works which reproduce items of Fauré’s correspondence in transcription, translation, or facsimile: items 90, 188, 189, 337, 878, 905, 1027, and 1101. NOTES 1

Hamelle publications are now available through Alphonse Leduc. The symbol here refers to proofs of the songs corrected by Fauré; the existence of holograph sources is uncertain (see below, Chapter 3). 2

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3 There are sketches and proofs for this song (see below, Chapter 3), but the whereabouts of the holograph manuscript, once in the collection of Louis Krasner, are unknown. 4 Also published in Le figaro, 10 October 1920. 5 The manuscript in the Collection Thierry Bodin is dated 30 September 1863, while that in the Beinecke Library, Yale University, bears the date 26 October 1863. 6 Published, as well, in The Solo Song Outside German Speaking Countries, edited by F.Noske, vol. 16 of Anthology of Music (Cologne:1958), 79–80. 7 Published by Hamelle, 1893. 8 Nectoux suggests (item 101:534) that material from an earlier “O Salutaris” (1878) was used in this piece. 9 The publications by Hinshaw and Hamelle are important recent editions of the first version of the Requiem; for an article by Rutter discussing his edition, see below, item 717. 10 The symbol here refers to sketches. 11 This edition includes a comprehensive discussion of manuscript and published sources. 12 From the manuscript. 13 According to Nectoux (item 101:533), an early version of this movement was composed in 1877. 14 Jean-Michel Nectoux, with Reiner Zimmermann, prepared an edition of the full-orchestra version (Leipzig: Peters, 1978) which, together with another edited by Roger Fiske and Paul Inwood, is reviewed by Robert Orledge in The Musical Times (121, no. 1647 [May 1980]:327). 15 Hamelle published a piano-vocal score in 1900. 16 The symbol here refers to an annotated copy of the piano-vocal score of this version (Bibliothèque Nationale, Rés Vmb 49). 17 Judging from the manuscript (see below, Chapter 3), this is almost certainly a student exercise. 18 This instrumentation is the one specified in the Hamelle collection of 1911, but one manuscript indicates that, at least initially, a double bass was included in the instrumentation while another, presumably later, manuscript includes parts for a string quintet. 19 According to Nectoux (item 101:533), material from this piece was used in the “Ave Maria” Op. 93. 20 Movements 1 (Kyrie) and 4 (“O salutaris”) composed by André Messager. 21 Movement 5 (Agnus Dei) orchestrated by Fauré; the other movements orchestrated by Messager. 22 Movements by Messager omitted. 23 Dated from the manuscript.

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24 According to Nectoux (item 101:536), based on the “Qui tollis” of the Gloria of the earlier version. 25 One manuscript for the version with organ is in the key of G?; the other is in F, as is the manuscript of the version with string quintet accompaniment. 26 From one of the two manuscripts of the piece. 27 See Chapter 3, discussion of Bibliothèque Nationale, MS 17722. 28 Nectoux notes an unpublished and lost version with two flutes and string quintet which may have been done by Fauré (item 101:536). 29 The date following the semicolon is that of the second edition of a piece, often as part of a collection. 30 Numbers 1 and 5 were originally written as pieces for the prize competitions of the Conservatoire on 22 July 1899 and 19 July 1901, respectively. Both were also published in newspapers: No. 1 first appeared in Le figaro on 29 July 1899 and was later printed in L’illustration in the issue of 1 July 1905; No. 5 was published in Le monde musical on 30 August 1901 (item 101:550). 31 The titles for individual pieces were supplied by Hamelle for a printing in 1903 (item 101:550). 32 Nectoux offers conflicting dates for the composition of this piece. In the text of his biography (item 101:384f), he states that Fauré “delivered…the Tenth Barcarolle to his new publisher, Jacques Durand, in June 1913,” while in the chronology of Fauré’s life in the same work (520), he gives “1913…25 July—11 September: Lugano, begins Tenth Barcarolle…” Further, in the catalog of Fauré’s works (555), the date of October 1913 is cited with the indication that it derives from a manuscript. However, this last date, while consistent with Fauré’s beginning the work during the summer of 1913, must be eliminated as the colors of ink on the title page of the manuscript (Piatigorski Collection) make it clear that “October 1913” is the date of the manuscript’s presentation to René Brancour. 33 Date from the manuscript. 34 From the evidence of the manuscript, the piece seems a student work. 35 Dating after the catalog entry, Bibliothèque Nationale, which identifies this piece as a student exercise. 36 Date from the manuscript. 37 From Nectoux (item 101:394). 38 The first of a number of publishers including the Boston Music Co. and International Music Co. 39 Dating from the fact that the version with organ is the earlier of the two: see discussion of the manuscripts of the two versions below. The manuscript for the version with organ retitles the piece from Fauré’s original “Adagio” but gives the opus number 69; that for the version for piano shows that the publisher retitled the piece, “Romance,” from Fauré’s “Andante” and that the opus number 63 was at some point assigned to the piece.

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40 Date from the manuscript, but Nectoux, suggesting that this piece uses themes from the Andante of the Violin Concerto, offers the entire period 1878– 1897 as the composition date (item 101:547). 41 First movement, Allegro, extant. 42 First three movements extant to varying degrees in manuscript sources. The first movement was transcribed for piano, four hands, by Léon Böellmann and published as Allegro symphonique (Op. 68) by Hamelle in 1895. 43 According to Nectoux (item 101:531), from the Gavotte for piano, 1869. 44 One copy of the first violin part survives in manuscript. 45 Nectoux indicates that there exist versions for piano and for chorus and piano, as well (item 101:395). 46 Date from item 130. 47 Nectoux also mentions another, earlier version for piano duet, Allegro de Symphonie, for which he suggests a date of 1864 (item 101:528). 48 See the discussion of this dating in the description of the manuscript, below. 49 Because of the inscription on the manuscript (see below), this cadenza has been identified as written for Mozart’s “first concerto” (K. 37). However, that early concerto is in the key of F while the cadenza is clearly for a concerto movement in C; further, the themes rehearsed in the cadenza indicate that it was written for K. 467. 50 Nectoux indicates a manuscript source for the date of composition, but the manuscript has not been located (see below). The date is given twice, however, in the published edition. 51 Orchestration by Guillaume Balay; used by Fauré as the Andante of the Second Violoncello Sonata, Op. 117. 52 The first publication date is that of the piano-vocal score, while the latter is that of the orchestra score. (See item 101:541.) 53 Two pieces drawn from Shylock, “Chanson” and “Madrigal,” were published by Hamelle as number 5 and number 6, respectively, in the third collection of Fauré’s songs. “Madrigal” was also published by Metzler in 1897. 54 Kœchlin’s orchestration of the original version, for which the manuscript exists (see below), includes the Sicilienne. 55 Versions exist for voice and piano and for voice with orchestral accompaniment by Kœchlin. (See item 101:548.) 56 The libretto was published in at least six editions (Paris: Société de Mercure de France). 57 Orchestrations by Fauré unless otherwise noted. 58 According to Nectoux (item 101:556), based on the earlier Intermède symphonique. 59 Orchestrated by Marcel Samuel-Rousseau (item 101:556).

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Gabriel Fauré: A Guide to Research

60 These two dates reflect Nectoux’s contention that the Menuet “reworks certain elements from the Andante of the Suite d’orchestre op. 20 but…is essentially a work of 1918” (item 101:337). 61 From the Gavotte for piano of 1869 which had also been used in the Suite Op. 20; the orchestration is by Marcel Samuel-Rousseau (item 101:556). 62 See item 101:147 and 543. 63 Based on the music for Caligula Op. 52. 64 The libretto was published by Heugel in 1913; the copy in the Bibliothèque de l’Opéra (LIV 171) lists on the verso of the title page the performers for both the Monte-Carlo and Paris premières. 65 The piano-vocal score was published in two editions, in 1912 and in 1913; the orchestral score appeared in 1913. 66 Both works, edited by Margarete Kluvetasch, are published by Peters (Leipzig: 1975). 67 Composed as a morceau de concours for the Conservatoire competition in harp, 25 July 1904 (item 101:551). 68 All information concerning this piece is from Nectoux (item 101:547), but the composition does not appear in the three-volume reprint of Philipp’s work (New York: G.Schirmer, 1901). 69 Nectoux describes the piece (item 101:551) as being for two double basses. 70 There may well exist other pieces of this type. 71 Dated from the manuscript. 72 Almost certainly a student exercise and part of the same manuscript source as the Kyrie WwO listed above. 73 Orledge suggests a date of c. 1870 (item 106:278); Nectoux lists the work in his article in Grove (item 130) with a date of c. 1900 but does not even mention the piece in his later study (items 96/101). 74 See item 101:390. 75 See, for example, Fiamma Nicolodi, “Parigi e l’opera verista: Dibattiti, riflessioni, polemiche” (Nuova rivista musicale italiana 15, no. 4 [OctoberDecember 1981]:577–623), in which both the importance of Fauré’s critical writing and its occasional vehemence are cited. 76 The various biographers of Fauré are vague about dating the end of Fauré’s tenure as music critic for Le figaro. Orledge indicates (item 106:330) that Fauré wrote weekly articles until 1905, reviewed premières and important events after that until 1914, and made the occasional further contribution as late as 1921. Vuillermoz (item 118:39–41) incorrectly dates the beginning of Fauré’s association with the newspaper as “shortly after he had assumed the directorship [of the Conservatoire]” in 1905 and states that “for ten years he kept his position at Le figaro.”

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77 This document exists in manuscript in the Bibliothèque Nationale as Fonds Bibliothèque Nationale Vmc ms 17:5 folia of unknown letter paper, 16× 21.5 cm, written on recto only; with the possible exception of a few emendations, it is not in Fauré’s hand. 78 Reprinted in Italian; see item 333. 79 Fauré refers here to Saint-Saëns’s early interest in the music of Liszt and Wagner; he tactfully avoids mentioning Saint-Saëns’s reaction to The Rite of Spring and to the music of Debussy. 80 For an account of the celebration on 21 March 1923 (including the text of remarks by André Messager), see C.-A. Collin, “L’hommage au maître Eugène Gigout,” Bulletin de l’Association des anciens élèves de I’École de musique classique 17, no. 42 (March-April 1923):1–7. 81 A manuscript of this essay is held by the Bibliothèque Nationale as Fonds Bibliothèque Nationale Rés Vmb ms 27; most of it is in the hand of Marie-Louise Boëllmann-Gigout, and only the first few folia together with a few lines and corrections elsewhere are autograph. The manuscript is on unknown paper, 26.5×21 cm, 32 folia written on recto only, and signed at the end. (From the catalog entry.) 82 This interview can be found in the “Dossier Pénélope” in the Bibliothèque de l’Opéra as well as with other materials related to Pénélope in the collection of the Bibliothèque de l’Arsenal (see Appendix A). Further, it is not clear whether this interview is identical to the interview article by the same author, “Le Théâtre de Monte Carlo… Indiscretions sur Pénélope,” Revue de la Riviera, 2 March 1913, as cited in Nectoux (item 101:596). 83 Located with other materials related to Pénélope in the collection of the Bibliothèque de l’Arsenal; see Appendix A. 84 The National Union Catalog, Pre-1956 Imprints (London and Chicago: Mansell Information/Publishing Limited, 1969), 25:445f, renders the author’s family name as “Aubry” and hyphenates “George-Jean” as his given name. 85 A draft of this preface in Fauré’s hand is held by the Pierpont Morgan Library (MFC F265.X); the manuscript is on two kinds of unknown paper (folia 1–4 and 6, 30.8×20.7 cm; folio 5, graph paper, 32.3×21.5 cm) written on recto only (except for a few lines crossed out, 4v), folded a number of times, and signed at the end. 86 In Histoire de la musique des origines à nos jours, J.Combarieu and René Dumesnil quote (item 156:549; item 157:151) an earlier version of this section of the preface which is described in the latter citation as a response by Fauré to an “enquête” in the Soleil du Midi, 30 April 1915 (not located). 87 There exists, as well, a Spanish translation with an introduction by de Falla. 88 Both letter and sketch in the collection of the Pierpont Morgan Library (MFC F265.X6); two bifolia of unknown letter paper with the letter on 1r and the autobiography on 2r–3r (1v, 3v–4v blank).

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89 Fauré’s draft of this appeal is part of the collection of the Pierpont Morgan Library (Lehman); unknown paper, 7 folia, written on recto only (except for a few lines, crossed out, on 3v), signed at the end. 90 See also a letter of d’Indy to Auguste Sérieyx dated 18 December 1916 and published in Vincent d’Indy, Henri Duparc, Albert Roussel: Lettres à Auguste Sérieyx, ed. Marie-Louise Sérieyx (Lausanne: Éditions du cervin, 1961), 24f. 91 A very detailed article by Michel Duchesneau, “La musique française pendant la Guerre 1914–1918: Autour de la tentative de fusion de la Société nationale de musique et de la Société musicale indépendante” (Revue de musicologie 82, no. 1 [1996]:123–53) discusses the wartime politics, social and musical, surrounding the conflicting aims of the two societies; Duchesneau also treats the important influence which the violin sonatas of Fauré and Debussy had on French chamber music. 92 Reprinted in Italian; see item 333. 93 In the course of research for this book, I have been made aware of a small number of such sources, not mentioned in items 48/53: letters in the Musikaliska Akademiens Bibliotek and the Kunglige Bibliotek (both in Stockholm) and a postcard in a private collection in Britain. 94 For an English translation of some of these letters, see Edward Lockspeiser, The Literary Clef: An Anthology of Letters and Writings by French Composers (London: John Calder, 1958), 140–159; note that Lockspeiser did not, however, have a very high opinion of Fauré’s music (126): “The chaste music of Gabriel Fauré was also highly stylised. Time has not greatly added to the stature of this disciple of Saint-Saëns…. Its positive quality is a most attractive blandness.” 95 First published (in mimeograph) in 1971 by the Association des amis de Gabriel Fauré (Paris). The work has been translated into Japanese by Sensho Otani, Tokie Hiyoshi, and Maki Shimatani as San-Sansu to Fore ofuku shokan-shu 1862–1920 (Tokyo: Shinpyoron, 1993). 96 This essay is very slightly revised from its first publication, with the same title, in Musique de tous les temps 18 (September-October 1974):7–11. There was apparently also an unauthorized (according to the author) republication of the article in L’auditorium (Lyon) 24 (February 1978):29–30 (not located). 97 Nectoux supplies a date of “c. 21 December 1896” from external evidence (item 48:229; item 53:232). 98 The copy of this periodical in the New York Public Library has a volume number, “209,” added and the date corrected to “7 November 1958,” all in pencil. 99 Special double issue, Claude Debussy (1862–1962): Textes et documents inédits.

Works 100

53

Call number M. 986. Correspondence between Kœchlin and Jacques Lonchampt (140–45) dated from September through November 1945 makes reference to a short-lived periodical, Eaux vives, founded by Lonchampt, which published an article by him on La bonne chanson and by Kœchlin on Prométhée. The title of the periodical appears in the catalog of the Bibliothèque Nationale, but it could not be located. 102 Depaulis is also the author of “Roger Ducasse, un élève fervent de Gabriel Fauré: L’homme, le compositeur et son temps à la lumière de sa correspondance et de ces écrits” (Dissertation, University of Paris IV, 1992). 101

CHAPTER 3

Primary Sources

The scholarly literature on Fauré includes very few studies of the primary sources for his music. There are a small number of articles which incorporate to varying degrees the study of individual manuscripts into larger historical or analytical discussions of the music, but there are only a few published descriptions of specific collections which, while providing some useful information, are not detailed enough to be systematic in any bibliographic sense. There are two reasons for this lack of interest in the holograph manuscripts of Fauré’s music. First, it is well known that Fauré succeeded in destroying almost all of his compositional sketches; his last letter to his wife directing her to help him to burn all such material is famous (quoted in item 53). As a result, only the sketches for his last piece—the String Quartet Op. 121, the pocket sketch books, and a few other items survive. Second, much has been made of the notion that the surviving manuscripts of complete pieces are for the most part fair copies intended either as presentation copies or for the engraver. Scholars have apparently assumed that without the destroyed sketch material, there is little to be learned from these remaining sources. Some manuscripts are without alteration, but many more include erasures and sections crossed out.1 Acquaintance with Fauré’s very consistent hand permits the interpretation of many erasures; further, Fauré’s crossed diagonal hatch marks almost always allow the discarded material to be read in all details. Sometimes the changes reflect only Fauré’s concern for correct orthography or for the alignment of parts; in other cases the discarded material is identical to that which replaces it 55

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Gabriel Fauré: A Guide to Research

and may indicate the composer’s momentary indecision. Where there are substantive changes, however, they can provide important insights into Fauré’s compositional method. (Unfortunately, microfilm reproductions obscure details, and erasures in particular can seldom be interpreted except by consulting the original source.) The vast majority of Fauré’s manuscripts are written on music paper from one Parisian supplier whose company name changed over the course of Fauré’s career from Lard to Lard-Esnault to Lard-EsnaultBellamy.2 When an identifying mark is present, it takes the form of a blind stamp in the upper left corner of 1 recto of a bifolium. The earliest such mark is an oval; the Lard-Esnault mark is a rectangle with bevelled corners with “Paris” in the center encircled by the name of the company and the address, 25, rue Feydeau; and the latest mark remains this rectangle with “Bellamy” in the center replacing “Paris.”3 The number of staves varies, but the size of the paper is normally 27 centimeters wide by 35 centimeters long. Many manuscripts are simply a number of bifolia of this “usual paper,” in gatherings (some with stitching); other manuscripts incorporate folia laid in. Most of Fauré’s manuscripts are written in black ink although there are passages in blue ink, in blue-black ink faded to a purple, and in pencil. Fauré wrote with a straight pen, and the difference between dry and full pen often makes quite possible the reading of layers of entry in manuscripts and thus offers further insights into his compositional method. (See item 80.) Although fastidious in his orthography, Fauré did employ some notational shorthand. For example, he tended not to repeat the clef and signatures from system to system (unless, of course, they altered); he became more and more consistent in this particular convention as he grew older. He also left certain details to the engraver such as the dash in a vocal part indicating the sustaining of a syllable of text. Indeed, many important performance indications such as pedalling which appear in published editions do not appear in the manuscript sources and were obviously added and approved at the later stages of editing, engraving, and proofing. Quite a number of manuscripts are signed on the title page or dated and signed at the end. Many are paginated by the composer. Most bear stamps or embossing identifying the collection or collections to which they have belonged. Every attempt has been made to locate and consult all extant manuscripts of Fauré’s music. Nonetheless, a number of sources have

Primary Sources

57

proved elusive, among them manuscripts dated by Fauré which are listed in Nectoux (items 96:523–51/101:525–58): La chanson dans le jardin, early version of Op. 56, No. 1, 12 January 18644 Trois romances sans paroles, Op. 17, No. 1, 10 August 1864 Transcription by Fauré for piano, four hands Allegro de Symphonie, WwO, 1864 Intermède symphonique in F, WwO, 30 March 1869 Gavotte in c?, WwO, 16 May 1869 Petite fugue in e, early version of Op. 84, No. 3, 30 June 1869 Fugue in e, early version of Op. 84, No. 6, 30 November 1869 Prélude in e, WwO, 31 December 18695 Au bord de l’eau, Op. 8, No. 1, August 18756 Aurore, Op. 39, No. 1, 20 May 1884 Fleur jetée, Op. 39, No. 2, 25 May 1884 Le Pays des rêves, Op. 39, No. 3, 30 May 1884 Ecce fidelis servus, Op. 54, March 1889 La rose, Op. 51, No. 4, August 1890 Cinq mélodies ‘de Venise’, Op. 58, Nos. 1–57 Mandoline, 7 June 1891 En sourdine, 20 June 1891 Green, 23 July 1891 A Clymène C’est l’extase Tantum ergo, Op. 65, No. 2, 14 August 1894 Cadenza, Mozart, Piano Concerto No. 24 (K. 491), WwO, 15 April 1902 Pièces brèves, Op. 84 No. 3, early version, see above No. 6, early version, see above No. 7, 2 August 1902 Thirteenth Nocturne, Op. 119, 31 December 1921 Other manuscripts have disappeared in plain sight, as it were. The late Louis Krasner informed me that he sold the manuscript of “Dans le forêt de septembre” Op. 85, No. 1 (dated, 29 September 1902) to the Bibliothèque Nationale, but this source is not in that institution’s collection. The manuscript for a sight-reading piece for flute and piano (edited by Anabel Brieff for publication and at one time in her possession)

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was sold in 1991 through Sotheby’s (London) to Gustav Mahler and the Twenty-first Century Association—efforts to have more information about this source have not been successful.8 Similarly, the whereabouts of the manuscript for Fauré’s cadenza for Beethoven’s Piano Concerto No. 3, once owned by the Robert Owen Lehman Foundation, are uncertain. The manuscript for the Seventh Barcarolle Op. 90 does not appear to be extant. It was published in facsimile in Le figaro illustré, Christmas 1905, and in Le ménestrel, 18 February 1906. In the latter publication, the facsimile was accompanied by a paragraph which noted that the piece was the first Fauré had composed since his appointment as director of the Conservatoire and which characterized Fauré as the descendant of Schumann and Chopin. Transcriptions of Fauré’s works by others are very numerous. However, with a small number of exceptions, manuscripts of such arrangements by other composers are not included in this list. The following list of sources is divided first by collection (arranged alphabetically by location) and, if the size of the collection warrants, by genre. Manuscripts which are only partially autograph and proofs or scores with autograph annotations are included at the end of each subsection. Manuscripts which are not in Fauré’s hand but which are nevertheless of interest are listed at the end of the section dealing with the collection to which they belong. Also included below are articles dealing with these primary sources—descriptions of collections, studies of individual manuscripts, and the like. The key of a piece in manuscript is indicated for the vocal works (where often the key differs from the “original key” as indicated by the publisher; see item 566), for religious works of the same title, and for other works in which the sketch or manuscript version is in a different key from that published. CANADA Montréal VZR.F27f

McLennan Library, McGill University (Mm) La fleur qui va sur l’eau, Op. 85, No. 2

Manuscript bound in blue binder with embossed title: “FAURÉ/ LA FLEUVE [sic]/QUI VA SUR L’EAU”; inside front cover: “Presented to the Library/by/Madame P.Donalda” and McGill University Library bookplate.

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Manuscript proper: usual paper (LEB), 20 staves; 6 folia; 10 pages of music; 1r as title page: “[upper center, blue ink, not autograph] Pour ma chère Pauline Donalda/en souvenir/M.Hasselmans/17 mai 1927/[center, purple pencil, autograph] La fleur qui va sur l’eau/Catulle Mendès/Op. 85 N° 2”; 5r added measure tipped on; 6v blank; signed and dated, 6r: “13 Septembre/1902/Gabriel Fauré.” In b. 73.

Jackson, Timothy L. “Gabriel Fauré’s Expansions of Nonduple Hypermeter in ‘La fleur qui va sur l’eau, Op. 85, No. 2’.” In Theory Only Vol 12, Nos. 3–4 (February 1992):1–27.

Not a detailed description of the source, but an examination of the autograph emendations to the manuscript, particularly the rewriting of the close and the measure tipped on 5r; the author asserts that these changes are to be understood in the context of the hypermetric structure of the piece. This explanation of the alterations is an attractive one which raises some interesting points, but it suffers from some important weaknesses: the processes of expansion and contraction of hypermeasures are not securely defined, and their application neglects the foreground and middleground movements within these units; the harmonic accommodation of the inserted measure at the foreground level is never discussed; the explanation of mm 32–37 is facile speculation; and there are voice-leading problems with sections of the analytical graph. FRANCE Paris

Bibliothèque Nationale (Pc, Pn)

The manuscript collection of the Département de la musique of the Bibliothèque Nationale is cataloged in two divisions, the Fonds Bibliothèque Nationale and the Fonds Conservatoire, which are those materials previously part of the library of the Conservatoire national supérieure de musique et de déclamation.9 These combined holdings represent the richest collection of Fauré manuscript materials in the world and include those manuscripts which before 1978 were the property of the Fauré family. 74.

Nectoux, Jean-Michel. “Manuscrits de Gabriel Fauré au Département de la musique.” Bulletin de la Bibliothèque Nationale 4, no. 1(1979):3–7.

An article occasioned by the gift of a large number of Fauré manuscripts to the Bibliothèque Nationale by the Fauré family; some of the more

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important contributions receive attention but are discussed more as pieces of music than as manuscript sources; in all, fewer than half the manuscripts are mentioned, and there is no systematic list of sources. The reader does learn that the Fauré family gift together with manuscripts on deposit from the Madeleine completes the collection of manuscripts of Fauré’s religious music. Sketches Fonds Bibliothèque Nationale MS 17752

Esquisse d’une fugue pour piano WwO

“Exercice d’écriture probablement composé à l’École Niedermeyer.”10 Usual paper (LE), 20 staves; 1 bifolium; 2 pages of music; 1r has title [pencil, not autograph]; 1v has caricature where two measures are crossed out; 2rv blank. In b; there is also a one-line sketch in c above the fugue. MS 17771

String Quartet, Op. 121

1. Cover bifolium, 18 staves; 1r has note by Philippe FauréFremiet: “Feuillets d’ébauches restées sur la table de la chambre de Gabriel Fauré le 4 Novembre 1924—ébauche finale du Quatuor à cordes”; 1v–2v blank. 2. Late draft of the opening of the final movement; appears to be usual paper, 18 staves; 2 bifolia; 5 pages of music; 1r as title page: “[black ink, not autograph] Début du Finale du quatuor à cordes/[black ink, autograph] III/Quatuor”; 3v, 4v blank. 3. Sketches for the quartet; 13 folia, 18, 20, or 22 staves; 20 pages of music; verso of 6 folia blank; an index sheet by Robin Tait identifies each fragment (see also items 543:338–39 and 865:39f). See also MS 17773. MS 17772

First Piano Quintet, Op. 89, first movement

Usual paper (LE), 20 staves; 2 folia; 4 pages of music; 1r has identification: “[not autograph] esquisse du 1er quintette 1891 [another hand] (1er mouvement)”; 1r: caricatures including two of Verlaine in his hospital bed.11

Primary Sources MS 17773

61

Second Piano Quintet, Op. 115, third movement

Usual paper, 20 staves and another paper with an oval blind stamp, 16 and 18 staves; 13 folia; recto, nearly final version of the Final; verso, sketches for the same movement; 12v: sketch for the final measures of the String Quartet Op. 121. See also MS 17771. MS 17787

Sketch books

Eight pocket sketch books; 1:15×12 cm [1887]12, 2:15×12 cm [1887], 3:13.5×10.5 cm [1889], 4:16.5×12 cm [1907], 5:15×8.5 cm [1902 and 1921], 6:15×9 cm [c. 1890], 7:19×12 cm [c. 1908?], 8:10×17 cm [1904?]; contain sketches for Second Piano Quartet Op. 45, “Clair de lune” Op. 46, No. 2, “O Salutaris” Op. 47, No. 1, Requiem Op. 48, Pavane Op. 50, Third Valse-Caprice Op. 59, Eighth Nocturne Op. 84, No. 8, “Dans la forêt de septembre” Op. 85, No. 1, “La Fleur qui va sur l’eau” Op. 85, No. 2, First Piano Quintet Op. 89, and Pénélope as well as for an unfinished setting of “Dans le ciel clair” and unidentified sketches including that of a piano piece; book 8 is blank except for one page of notes “probablement…pour la réponse à l’enquête sur la critique musicale du Gaulois, 30 octobre 1904,”13 MS 19730

First Violoncello Sonata, Op. 109, third movement

Appears to be usual paper (blind stamp illegible), 18 staves; 1 folio; written on recto and verso; almost entirely sketches for the last movement with an unidentified small section in triple meter marked “Scherzo.” MS 20293

First Violin Sonata, Op. 13; Au bord de l’eau, Op. 8, No. 1; and Lamento (“La chanson du pêcheur”), Op. 4, No. 1

1. Usual paper (LE), 20 staves; 1 bifolium; 4 pages of music (Op. 13). 2. Usual paper (LE), 18 staves; 1 bifolium; 4 pages of music (1r, Op. 13; 1v, Op. 8, No. 1; 2r, Op. 8, No. 1 and Op. 13, II; 2v, Op. 13, II). 3. Paper slightly larger than the usual, 18 staves ruled parallel to the long edge; 1 folio; recto, Op. 13; verso, blank; manuscript has been folded side to side. 4. Fragment of usual paper (LE), 12 staves remaining; recto, Op. 13; verso, a fragment of Op. 4, No. 1.

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MS 20299

Suite, Op. 20, first movement, version for two pianos

Not usual paper (less fine), 27.5×36.5 cm, 18 staves; 3 bifolia and 2 folia (slightly larger paper, edges worn); 16 pages of music, pianos in score; 1r: orchestration indicated in marginal note. In E. First Impromptu, Op. 25 See MS 20301. Second Valse-Caprice, Op. 38 See MS 17770. Songs and Duets Fonds Conservatoire MS 415

Le jardin clos, Op. 106

Usual paper (LE), 20 staves; 7 bifolia, not gathered, with 1 bifolium cover; 28 pages of music, paginated throughout beginning with first page of music (2v); cover (1r) as title page: “[black ink, autograph] Le Jardin clos/poésies de Charles Van Lerberghe/I Exaucement/II Quand tu plonges tes yeux dans mes yeux/III La Messagère/IV Je me poserai sur ton coeur/V Dans la Nymphée/VI Dans la pénombre/VII Il m’est cher, amour… /VIII Inscription sur le sable”; 2r as interior title: “[pencil, not autograph] Le jardin clos/G.Fauré”; 1v, 16v blank; movements of cycle begin pp. 1 (2v), 4 (4r), 7 (5v), 13 (8v), 16 (10r), 19 (11v), 22 (13r), 26 (15r); Roman numeral, title, and name of dedicatee on first page of each movement, autograph. In C, F, G, E , D , E, F, and e. MS 419a

Seule, Op. 3, No. 1

Usual paper (LE), 16 staves; 1 bifolium; 3 pages of music; 1r as title page: “[pencil, not autograph] Seule”; signed and dated, 2v: “Gabriel Fauré/1871.” In e. MS 419b

L’absent, Op. 5, No. 3

Usual paper (LE), 16 staves; 1 bifolium; 3 pages of music; 1r as title page: “[pencil, not autograph] Sentier où l’herbe se balance/[black ink, autograph] poésie de Victor Hugo/Extraite des Chatiments/[pencil, not autograph] Gabriel Fauré”; signed and dated, 2v: “Gabriel Fauré/3 avril

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63

1871”; manuscript has been folded top to bottom; title page bears the library stamp of Charles Malherbe; another text [pencil, not autograph] written above the music throughout. In a. MS 419c

L’aurore, WwO

Paper unidentified, 26.4×34cm, 12 staves; 1 bifolium; 2 pages of music; 1r as title page: “[black ink, autograph] L’Aurore”; 2v blank; title page bears the library stamp of Charles Malherbe. In A?. MS 419d

La rançon, Op. 8, No. 2

Usual paper (LE), 16 staves; 1 bifolium with 1 folio laid in; 4 pages of music; 1r as title page: “[black ink, autograph] La Rançon/Poésie de Ch. Baudelaire/Musique de Gabriel Fauré”; top edge of manuscript worn; 3v blank; title page bears the library stamp of Charles Malherbe. In b. Fonds Bibliothèque Nationale MS 11546

Mirages, Op. 113

Cover bifolium: paper unidentified, 20 staves, enclosing 4 separate manuscripts; 1r as title page: “[black ink, autograph] à Madame Gabriel Hanotaux/Mirages/poèmes de la Baronne de Brimont/Gabriel Fauré/I. Cygne sur l’eau/II. Reflets dans l’eau/III. Jardin nocturne/IV. Danseuse”; 1v, 2rv blank; engraver’s and publisher’s marks. 1. Usual paper (LEB), 20 staves; 2 bifolia; 5 pages of music; 1r as title page: “[black ink, autograph] I/Cygne sur l’eau”; 4rv blank. In F. 2. Usual paper (LEB), 20 staves; 2 bifolia; 6 pages of music; 1r as title page: “[black ink, autograph] II/Reflets dans l’eau”; 4v blank; publisher’s marks. In B . 3. Usual paper (LEB), 20 staves; 2 bifolia; 4 pages of music; 1r as title page: “[black ink, autograph] III/Jardin nocturne”; 3v–4v blank; publisher’s marks. In E . 4. Usual paper (LEB), 20 staves; 2 bifolia; 5 pages of music; 1r as title page: “[black ink, autograph] IV/Danseuse”; 4rv blank. In d. MS 17745

La bonne chanson, Op. 61, Nos. 1, 4, 9

1. Usual paper (LE), 20 staves; 3 bifolia; 7 pages of music; 1r as title page: “[pencil, autograph] Bonne Chanson/Une Sainte en son auréole”;

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Gabriel Fauré: A Guide to Research

1v, 2r, 6rv blank; dated, 5v: “17 Septembre 92”; manuscript has been folded top to bottom and side to side. In A . 4. Usual paper (LE), 20 staves; 3 bifolia; 8 pages of music; 1r as title page: “[pencil, not autograph] Bonne Chanson/J’allais par des chemins perfides”; 1v, 2r, 6v blank; 6r: appears that signature and date erased; manuscript contains many smudges from having been closed before ink was dry. In f#/F#. 9. Usual paper (LE), 20 staves; 2 bifolia with 2 folia laid in, sewn; 9 pages of music; 1r as title page: “[black ink, autograph] La Bonne Chanson/L’Hiver a cessé/poësie de Paul Verlaine/Gabriel Fauré Op. 61 No. 9”; 6rv blank; 6r stained with candle wax; engraver’s marks. In B . MS 17748

La chanson d’Eve, Op. 95, Nos. 1–914

Manuscript in a cover with the indication, front: “[not autograph] la Chanson d’Eve”. Inner cover bifolium: paper unidentified, 18 staves, enclosing 9 separate manuscripts; 1r as title page: “[pencil, not autograph] La Chanson d’Eve”; 1v–2v blank. 1. Usual paper (LEB), 18 staves; 5 bifolia; 13 pages of music; 1r as title page: “[black ink, autograph] Paradis/(La Chanson d’Eve) No I/ Charles van Lerberghe/Gabriel Fauré”; 8r–10r blank, 10v blank except for short, unidentified sketch in pencil; signed and dated, 7v: “8 Septembre 1906/Gabriel Fauré”; manuscript has been folded top to bottom; engraver’s and publisher’s marks including date sent to engraver: “3–10–06” (10v).In e. 2. Usual paper (LEB), 18 staves; 2 bifolia; 5 pages of music; 1r as title page: “[black ink, autograph] Prima Verba/(La Chanson d’Eve) No 2/Charles van Lerberghe/Gabriel Fauré”; 4rv blank; signed and dated, 3v: “Septembre 1906/Gabriel Fauré”; manuscript has been folded top to bottom; engraver’s and publisher’s marks. In G . 3. Usual paper (LEB), 18 staves; 2 bifolia; 5 pages of music; 1r as title page: “[upper left, black ink, autograph] Paradis—1/Prima Verba— 2/ Roses ardentes—3/ L’aube blanche—4/Crépuscule—5/ [center, black ink, autograph] Roses ardentes… /(Chanson d’Eve)/Charles van Lerberghe/Gabriel Fauré”; 4rv blank; manuscript soiled; engraver’s and publisher’s marks. In E. 4. Usual paper (LEB), 18 staves; 5 bifolia; 4 pages of music on recto of 2–5; 1r as title page: “[black ink, autograph] Comme Dieu rayonne… /(Chanson d’Eve)/Charles van Lerberghe/Gabriel Fauré/

Primary Sources

65

1—Paradis/2—Prima verba/3—Roses ardentes/4—Comme Dieu rayonne/ 5—Dans un parfum de roses blanches/6—Eau vivante/7— L’aube blanche/8—Crépuscule”; title repeated on first page of music; verso of 1–5 and 6r–10v blank; engraver’s and publisher’s marks. In c. 5. Usual paper (LEB), 18 staves; 2 bifolia; 4 pages of music; 1r as title page: “[black ink, autograph] L’aube blanche/(Chanson d’Eve)/ Charles van Lerberghe/Gabriel Fauré”; 3v–4v blank; manuscript soiled; engraver’s and publisher’s marks including date sent to engraver: “22– 7–08” (4v). In D . 6. Usual paper (LEB), 18 staves; 4 bifolia; 6 pages of music on recto of 1–6; no separate title page, but title of song, title of cycle, name of poet, and “Gabriel Fauré” [autograph] on first page of music; verso of 1–5 and 6v–8v blank; engraver’s and publisher’s marks including engraving date of “5–6–09” (8v). In C. 7. Usual paper (LEB), 18 staves; 4 bifolia; 6 pages of music on recto of 2–7; 1r as title page: “[black ink, autograph] Chanson d’Eve No 7 [‘7’ written over ‘8’]/Veilles-tu, ma senteur de soleil…/Charles van Lerberghe/Gabriel Fauré/Op. 95/1 Paradis/2 Prima verba/3 Roses ardentes [written over ‘Comme Dieu rayonne’]/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”; verso of 1–7 and 8r blank, 8v blank except for some unidentified sketches [pencil]; manuscript slightly soiled. In D. 8. Usual paper (LEB), 18 staves; 4 bifolia; 6 pages of music on recto of 1–6; no title page, but first page of music as no. 6, above; verso of 1– 6 and 7r–8v blank; engraver’s and publisher’s marks. In G. 9. Usual paper (LEB), 16 staves; 2 bifolia; 6 pages of music; 1r as title page: “[black ink, autograph] Crépuscule/poésie de Charles van Lerberghe/(La Chanson d’Eve)”; 4v blank; signed and dated, 4r: “4 juin 1906/Gabriel Fauré”; engraver’s and publisher’s marks. In d. MS 17754

Le papillon et la fleur, Op. 1, No. 1

Paper by Montgolfier, 26.5×35 cm, 16 staves; 1 bifolium with 2 folia laid in; 5 pages of music; 1r as title page: At top center [black ink, autograph?15], caricature of a butterfly giving a double thumb of the nose to an anthropomorphic flower/“La fleur et le papillon [sic]/poësie de Victor Hugo/Gabriel Fauré”; second and third stanzas, vocal part only (pages 4–5); page 3 (2v) blank except for two measures of music, 4rv blank; manuscript has been folded top to bottom. In D .

66 MS 17761

Gabriel Fauré: A Guide to Research Le don silencieux, Op. 92

Usual paper (LEB), 18 staves; 3 bifolia; 5 pages of music; 1r as title page: “[pencil, not autograph] à Madame Octave Maus/Le don silencieuse [sic]/[black ink, autograph] Offrande/poësie de Jean Dominique/Gabriel Fauré/Op. 94 [sic]”; 4r, 5v–6v blank, 4v sketch of m 1, 5r sketch of mm 17–24 (that is, a first version of page 4); signed and dated, 3v: “20 Aout [sic] 1906/Gabriel Fauré”; manuscript has been folded top to bottom; engraver’s and publisher’s marks including date sent to engraver: “25–8–06” (6v). In E. MS 17785

Vocalise-étude, WwO

Manuscript in cover folder with indication, front: “[not autograph] Vocalise.” Usual paper (LEB), 16 staves; 2 bifolia; 5 pages of music; 1r: “[black ink, autograph] Vocalise-Etude/pr voix élevée/Etendue [range of piece, b-g#”, given in musical notation]”; 1r: “[among engraver’s marks] gravé 31/1–07”; 3v–4v blank; signed, 3r: “Gabriel Fauré.” In e. MS 19203

Accompagnement, Op. 85, No. 3

Cover bifolium of usual paper (LEB), 16 staves with the indication, front: “[pencil, not autograph] Autographe/[black ink, autograph?] Autographe et epreuves [last two words crossed out in pencil]/Gabriel Fauré”; 1v–2v blank. Manuscript proper: usual paper, 22 staves; 3 bifolia and smaller piece (27×8 cm) of paper with alternate version of m.5 laid in; 8 pages of music; 1r as title page: “[black ink, autograph] Accompagnement/ poésie d’Albert Samain/Composée pour/et dédiée à ma délicieuse interprête et amie/Melle Mimi Girette/Gabriel Fauré/Paris, 28 mars 1902”; 5v–6v blank. In G . MS 19204

Barcarolle, Op. 7, No. 3

Usual paper (LE), 18 staves; 1 bifolium; 3 pages of music; 1r as title page: “[black ink, autograph] Barcarolle/poésie de Marc Monnier”; signed and dated, 2v: “Gabriel Fauré/19 octobre 1873”; 2v: “[ink, presumably the hand of Mimi Girette Risler] Donné par Fauré/12 Juillet 1902/Mimi”; engraver’s marks including: “en fa mineur” (1v). In g.

Primary Sources MS 19913

67

Le jardin clos, Op. 106

“Ms offert par l’auteur à Claire Croiza qui l’a annoté en vue de la 1e audition du 28 janvier 1915”16; performer’s annotations in purple pencil in each ms. 1. Usual paper (LEB), 16 and 22 staves; 2 bifolia; 3 pages of music; 1r as title page: “[black ink, autograph] Exaucement”; 2r: “[black ink, autograph] I/à Mme Albert Mochel”; 1v, 3v–4v blank. In C. 2. Usual paper (LEB), 20 staves; 1 bifolium; 3 pages of music; 1r as title page: “[black ink, autograph] Quand tu plonges tes yeux dans mes yeux…”; 1v: “[black ink, autograph] II/à Melle Germaine Sanderson.” In F. 3. Usual paper (LEB), 22 staves; 2 bifolia with 1 folio laid in and sewn to inner bifolium; 6 pages of music; 1r as title page: “[upper right, pencil, not autograph] à voir/[center,black ink, autograph] La Messagère”; 2v: “[black ink, autograph] III/à Mme Gabrielle Gillis”; 1v–2r, 5v blank. In G. 4. Usual paper (LEB), 20 staves; 2 bifolia; 4 pages of music; 1r as title page: “[black ink, autograph] Le Jardin Clos/Je me poserai sur ton coeur…”; 1v: “[black ink, autograph] IV/à Mme Louis Vuillemin”; 3v– 4v blank. In E?. 5. Usual paper (LEB), 20 staves; 2 bifolia; 4 pages of music; 1r as title page: “[black ink, autograph] Dans la Nymphée”; 1v: “[black ink, autograph] V/à Mme Croiza”; 3v–4v blank. In D?. 6. Usual paper (LEB), 20 staves; 2 bifolia; 4 pages of music; 1r as title page: “[black ink, autograph] Dans la pénombre”; 3v–4v blank. In E. 7. Usual paper (LEB), 20 staves; 2 bifolia; 5 pages of music; 1r as title page: “[upper right, pencil, not autograph] à voir/[center, black ink, autograph] Il m’est cher, Amour le bandeau…”; 1v, 4v blank. In F. 8. Usual paper (LEB), 22 staves; 1 bifolium; 2 pages of music; 1r as title page: “[black ink, autograph] Inscription sur le sable”; 2v blank. In e. MS 20291

Au bord de l’eau, Op. 8, No. 1

Usual paper (LE), 18 staves; 1 bifolium; 3 pages of music; 1r as title page: “[black ink, autograph] Au bord de l’eau/poésie de Sully Prudhomme/Gabriel Fauré/15 aout [sic] 1876”; manuscript has been folded top to bottom and side to side in thirds. In c.

68 MS 20294

Gabriel Fauré: A Guide to Research Ici-bas! Op. 8, No. 3

Usual paper (LE), 18 staves; 1 bifolium; 2 pages of music; 1v: “[black ink, autograph] Ici-bas tous les lilas meurent!/poésie de SullyPrudhomme”; 1r blank except for some scales [pencil, not autograph], 2v blank; signed, 2r: “Gabriel Fauré”; manuscript worn. In f#. MS 20297

Puisqu’ici-bas, Op. 10, No. 1

1. Score: Lard-Esnault paper, 35×27 cm, but ruled parallel to the long edge, 12 staves; 2 folia; 3 pages of music; 1r blank. In D?, key signature defective on first page. 2. Part for second soprano: appears to be usual paper, 18 staves; 1 folio; 2 pages of music; cues from first soprano part; errors of rhythm, underlay, and notes in mm 20f, 25f, 33, 76, and 81. MS 20781

L’horizon chimérique, Op. 118

Cover bifolium of usual paper (LEB), 22 staves, enclosing 4 separate manuscripts, with the indication, front: “[black ink, autograph] à Charles Panzera/L’Horizon chimérique/poèmes de/Jean de la Ville de Mirmont/Gabriel Fauré/op. 118/[lower left, black ink, not autograph] Réglées avec l’autorisation de la/Société Littéraire de France,/Editeurs, 10 rue de l’Odéon Paris (6e)”; 1v–2v blank; engraver’s and publisher’s marks including (front) listing of title of individual songs. 1. Usual paper (LEB), 18 staves; 2 bifolia; 4 pages of music; 1r as title page: “[black ink, autograph] En souvenir de la belle soirée du 13 mai 1922/(première audition à la Société Nationale)/Gabriel Fauré/ I/ L’Horizon chimérique/Poèmes de Jean de la Ville de Mirmont/Gabriel Fauré”; 1v: “[black ink, autograph] La mer est infinie….”; 3v–4v blank. In D. 2. Usual paper (LEB), 18 staves; 2 bifolia; 6 pages of music; 1r as title page: “[black ink, autograph] II/L’Horizon chimérique/poèmes de Jean de la Ville de Mirmont/Gabriel Fauré”; 1v: “[black ink, autograph]: Je me suis embarqué….”; 4v blank. In D . 3. Usual paper (LEB), 18 staves; 2 bifolia; 3 pages of music; 1r as title page: “[black ink, autograph] III/L’Horizon chimérique/poèmes de/Jean de la Ville de Mirmont/Gabriel Fauré”; 1v: “[black ink, autograph] Diane, Séléné….”; 3r–4v blank. In E . 4. Usual paper (LEB), 18 staves; 2 bifolia; 5 pages of music; 1r as title page: “[black ink, autograph] IV/L’Horizon chimérique/Poèmes

Primary Sources

69

de/Jean de la Ville de Mirmont/Gabriel Fauré”; 1v: “[black ink, autograph] Vaisseaux, nous vous aurons aimés….”; 4rv blank. In D. MS 20804

Lamento (La chanson du pêcheur), Op. 4, No. 1, version with orchestra17

Usual paper (LE), 20 staves; 6 bifolia, once sewn; 17 pages of music; 1r as title page: [faded black ink, autograph] “Lamento/Gabriel Fauré”; 1v, 2r, 11v–12v blank; 2r: stamp of Concerts Colonne; 10r completely crossed out; engraver’s marks (including, 1r, list of instruments) and publisher’s marks. In f. MS 20809

Les roses d’Ispahan, Op. 39, No. 4, version with orchestra

Usual paper (LE), 20 staves; 5 bifolia, sewn; 15 pages of music; 1r as title page: [black ink, autograph] “Les Roses d’Ispahan/Leconte de l’Isle/Gabriel Fauré/(partition d’orchestre)”; 9r–10v blank; title page worn; engraver’s marks. In D. Page proofs with autograph annotations Rés Vma 299

(1) Dans le forêt de septembre, Op. 85, No. 1

Numerous autograph corrections; performer’s annotations in pencil (probably of the donor, Mimi Girette Risler); engraver’s marks including (p. 1) date stamp: “18 OCT 02.” Rés Vma 299(2)

La fleur qui va sur l’eau, Op. 85, No. 2

Numerous autograph corrections; performer’s annotations in pencil (probably of the donor, Mimi Girette Risler); engraver’s marks including (p. 1) date stamp: “3 NOV 02.” Rés Vma 300(1)

La chanson d’Eve, Op. 95, No. 1

Second proof with numerous autograph corrections; engraver’s date stamp (p. 1): “27 NOV 1906.”

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Gabriel Fauré: A Guide to Research

Rés Vma 300(2)

La chanson d’Eve, Op. 95, No. 2

First proof with numerous autograph corrections; engraver’s marks including date stamp (p. 1): “14 NOV 1906” and resubmission date in ink (verso of last page): “13–12–06.” Rés Vma 301

Chanson, Op. 94

First proof with autograph corrections in red and black ink (change coinciding with change in mode of piece); performer’s annotations in pencil (probably of the donor, Mimi Girette Risler); engraver’s date stamp (p. 1): “14 NOV 1906.” Rés Vmb 53 Cinq mélodies ‘de Venise’, Op. 58 Autograph corrections. Sacred works Fonds Conservatoire MS 410

Requiem, Op. 48, Introit and Kyrie18

Usual paper (LE), 22 staves; cover bifolium, 4 bifolia gathered and sewn with 1 folio, followed by 2 folia, 2 bifolia gathered and sewn; 24 pages of music; 1r as title page: “[upper center, pencil, autograph] Messe de Requiem/Introit et Kyrie/Gabriel Fauré/[lower right, ink, not autograph] Introit et Kyrie/[pencil] Offertoire/[ink]Sanctus/Pie Jesu/ Agnus Die/In paradisum”; 2v and elsewhere: [pencil, autograph] indication of later, augmented instrumentation; 5v crossed out; 1v, 2r, 15rv blank; outer bifolium worn. MS 411

Requiem Op. 48, Sanctus

Usual paper (LE), 20 staves; 5 bifolia, sewn; 15 pages of music; 1r as title page: “[upper center, black ink, autograph] Messe des Morts/ Sanctus/Gabriel Fauré/9 Janvier 1888/[lower right, pencil, not autograph] La choeur avec les/nuances/les instruments/sans liaisons et/ sans nuances”; 1v: [pencil, autograph] indication of later, augmented instrumentation; 9r–10v blank.

Primary Sources MS 412

71

Requiem Op. 48, Agnus Dei

Usual paper (LE), 20 staves; 6 bifolia gathered and sewn; 19 pages of music; 1r as title page: “[upper right, black ink, autograph] Requiem/ Agnus Dei/Messe des Morts/[center] Agnus Dei/Gabriel Fauré/6 Janvier 1888”; 1v, above score: “[pencil, not autograph] recommander les 2# de la fin”; 1v and elsewhere: [ink, autograph] indication of later, augmented instrumentation; 6v crossed out; 12v: [pencil] unidentified sketches; 11v, 12r blank. See MS 17770. MS 413

Requiem Op. 48, In Paradisum

Usual paper (LE), 22 staves; 5 bifolia gathered and sewn; 15 pages of music; 1r as title page: “[upper right, black ink, autograph] Requiem/In paradisum/G.Fauré”; 1v: [ink, autograph] indication of later, augmented instrumentation; 9r–10v blank; outer bifolium worn. MS 17717

Requiem Op. 48, parts for instruments and alto19

1. Alto (In paradisum): unknown paper, 23.5×31 cm, 12 staves; 1 folio; 1 page of music; recto: “[upper center, black ink, autograph] In paradisum alto”; verso blank except for, inverted, one line preparing entries for B clarinet and flute. 2. Trumpets: paper by Lard, 23×30.5 cm, 14 staves; 1 bifolium; 3 pages of music; 1r: “[upper center, black ink, autograph] Requiem/2 Trompettes en fa (chromatiques); 2v blank. 3. Harp (In paradisum): unknown paper, 23×30.6 cm, 12 staves; 1 bifolium; 2 pages of music; 1r as title: “[upper left, pencil, not autograph] 2 parties/[upper right, black ink, autograph; underscored, blue pencil] Harpe/[upper center] Requiem/[flush right, blue pencil, not autograph] M/[pencil] G Fauré/[upper center, black ink, autograph; underscored, blue pencil] In paradisum”; 2v blank except for “upper left, pencil] De profundis/15 basses—/15 tenors—/15 sopr—/la Prière—15 basses—/15 tenors—/15 sopr—/5 altos—.” 4. Horns (Introit and Kyrie): unknown paper, 24×31.5 cm, 14 staves; 1 bifolium; 3 pages of music; 1r: “[upper left center, black ink, autograph] Ie et 2e Cors chromatiques en fa/Requiem/G.Fauré”; 2v, inverted and crossed out [black ink, autograph], beginning of same part. 5. Horns (Sanctus and Pie Jesu): paper by Lard, 23×30.5 cm, 14 staves; 1 bifolium; 3 pages of music; 1r as title page: “[upper center,

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Gabriel Fauré: A Guide to Research

black ink, autograph] Messe de Requiem/Sanctus/1er et 2ème Cors”; 1v: “[upper left, black ink, autograph] Cors en Fa chromatique/[left center] Sanctus.” 6. Horns (Libera me): paper by Lard, 23×30.7 cm, 12 staves; 1 bifolium; 2 pages of music; 1r as title page: “[upper left center, black ink, autograph] 1e et 2e Cors chromatiques en fa/[flush right] Requiem/ G. Fauré”; 2v blank; paper brittle. 7. Horns (In paradisum): paper by Lard-Esnault, 27×34.8 cm; 1 folio ripped from a bifolium; 1 page of music; recto: “[upper left center, black ink, autograph] Requiem/[flush right, heavier black ink] Ier et 2em [sic] Cors/[left center, pencil] No 7 [‘7’ written over ‘8’]/[black ink] In paradisum”: verso blank. See also Rés Vma ms 891 and Rés Vma ms 892. Rés Vma ms 503

Salve Regina, Op. 67, No. 1

Usual paper, 20 staves; 2 bifolia; 4 pages of music; 1r as title page: [upper right, black ink, autograph] “Salve Regina”; 3v–4v blank; signed and dated, 3r: “Paris, 25 mars 1895/Gabriel Fauré.” In G . Fonds Bibliothèque Nationale MS 1771820 Il est né le divin enfant, WwO Usual paper (LE), 22 staves; 4 bifolia; 12 pages of music; 1r as title page: “[center, black ink, autograph] «Il est né le Divin enfant.»/ Noël/ avec accompagnement/d’orgue, harpe, hautbois, Violoncelles et C.basse/Gabriel Fauré”; 1v, 8v blank, 2r blank except for pencil sketch; initialled and dated, 8r: “GF/23 Xbre [December] 1888”; manuscript soiled and brittle; performer’s annotations. In B . MS 17719

Ave verum, Op. 65, No. 1, double bass part

Usual paper (LE), 23.5×31 cm, 10 staves; 1 folio; 1 page of music on recto; verso blank. See MS 17739. MS 17720

O salutaris, Op. 47, No. 1, double bass part

Unidentified paper, 23.9×31.8 cm, 12 staves; 1 folio written on recto only, [upper left, pencil, not autograph] en si .” In B.

Primary Sources MS 17721

73

Tu es Petrus, WwO, instrumental and voice parts

1. Instrumental and vocal parts: appear to be usual paper (LE), from which pieces of varying sizes are cut or torn; 4 vocal parts (soprano, tenor [incomplete on verso of soprano part], tenor [complete], bass); 5 string parts (1st and 2nd violins, viola, violoncello, double bass [“en Ut”]); missing parts for baritone solo and chorus alto. 2. Organ part: appears to be usual paper, 14 staves trimmed from larger format; 2 folia; 2 pages of music with cues from vocal parts; 1r as title page: [black ink, center, autograph] Tu est Petrus/orgue” with design of organ; 2v blank. In C. MS 17722

Tantum ergo, WwO, version with string quintet (and organ?) accompaniment21

Paper taped for binding obscuring identifying marks, 20 staves (second folio trimmed from 22); 2 folia; 2 pages of music, vocal (solo and cues from choral parts) and string parts (including double bass) in score; 1r as title page: “[center, black ink, autograph] Tantum ergo/ Quatuor [sic] à cordes”; 2v blank. In F. See MS 17782. MS 17737

Ave Maria, Op. 93

Usual paper (LEB), 18 staves; 3 bifolia; 10 pages of music; 1r as title page: “[top right, black ink, autograph] à Madame Georges Kinen/ [center] Ave Maria/Duo pour deux Soprani/avec accompagnement d’orgue ou de piano./Op. 93/Gabriel Fauré”; 6v blank; signed and dated, 6r: “10 aout [sic] 1906/Gabriel Fauré”; engraver’s and publisher’s marks. In b. MS 17738

Ave Maria, Op. 67, No. 2

Paper by H.Moreau, 12 staves; 2 bifolia; 3 pages of music; 1r as title page: “[center, pencil, autograph] Ave Maria/Op. 67 N° 2”; 2v: sketches, possibly for the end of the piece; 3r–4v blank. In A . MS 17739

Ave verum, Op. 65, No. 1

Usual paper (LE), 20 staves; 2 bifolia; 5 pages of music; 1r as title page: “[center, black ink, autograph] Ave Verum/duo pour ténor et baryton [erased]/Choeur pour deux voix de femmes/(ou duo pour Ténor et

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Gabriel Fauré: A Guide to Research

Baryton.)/Gabriel Fauré/Op. 65 N° I/[bottom, pencil, not autograph, crossed out] avec orgue ou Piano?”; 4rv blank. In f/F. See MS 17719. MS 17757

Maria, Mater gratiae, Op. 47, No. 2

Usual paper (LE), 24×31.5 cm, 14 staves; 2 bifolia; 5 pages of music; 1r as title page: “[center, black ink, autograph] Maria, Mater Gratiae/duo pour ténor et Baryton/Gabriel Fauré”; 4rv blank; signed and dated, 3v: “Paris, 1er Mars 1888/Gabriel Fauré”. In E . MS 17781

Super flumina, Psalmus CXXXVI, WwO

Paper by LE and De Canson Frères, 27×36.5 cm, 22 staves; 19 folia (bifolia and single folia), sewn; 36 pages of music; dated, 18v: “14 juillet 1863.” In a. MS 17782

Tantum ergo, WwO, version with organ accompaniment

Usual paper (LEB), 20 staves; 2 bifolia; 4 pages of music, 1r as title page: “[upper center, black ink, autograph] Tantum ergo”; 3rv, 4v blank; signed and dated, 4r: “3 novembre 1904/Gabriel Fauré.”22 In F. See MS 17722. MS 20295

Messe basse, WwO, 1906 version, score

Usual paper (LEB), 18 staves; 5 bifolia and 2 folia, sewn; 22 pages of music (Kyrie 1v, Sanctus 4r, Benedictus 6v, Agnus Dei 9r); 1r as title page: “[upper half of page, black ink, autograph] Messe basse/Kyrie eleison—Sanctus—Benedictus/et Agnus Dei/pour voix de femmes/soli et chœur/avec accompagnement d’orgue (ou harmonium)/Gabriel Fauré”; 12v blank; signed and dated, 12r: “26 Xbre [Decembre] 1906/ Gabriel Fauré”; engraver’s and publisher’s marks. Partially autograph MS 17723

Ave Maria, WwO

Only the harp and violoncello parts are autograph; manuscripts in cover with indication, front: “[not autograph] G.Fauré/Ave Maria/ Duo.” 1. Score: paper unidentified, 23×31.5 cm, 12 staves; 2 bifolia, sewn; 6 pages of music (voice and organ in score); 1r as title page:

Primary Sources

75

“[center, black ink, not autograph] Ave Maria/[lower right] G.Fauré”; 4v blank. In F. 2. Tenor and baritone parts: same paper; 1 folio each written on recto and verso. 3. Harp and violoncello parts: Same paper; each, 1 bifolium; each, 2 pages of music; 1r as title page in each case: “[center, pencil, not autograph] Harpe/Ave Maria/Duo/(Fauré)” and “[center, pencil, not autograph] Vclle/Ave Maria/Duo/(Fauré)”; each, 2v blank. MS 20301

Messe de l’Association des pêcheurs de Villerville (Messe basse), WwO, 1881 version with harmonium and violin, score and voice parts

Gloria, Sanctus, and Agnus Dei are autograph; Kyrie and “O salutaris” are in the hand of Messager. 1. Score: Kyrie: usual paper (LE), 24 staves; 1 bifolium; 3 pages of music; 2v blank. Gloria: usual paper (LE), 22 staves; 1 bifolium; 4 pages of music; last few measures incomplete. Sanctus: usual paper (LE), 22 staves; 1 folio; 1 page of music; 1v blank. “O salutaris”: paper by Lard-Esnault, 29.5×23.5 cm, 16 staves ruled parallel to the long edge; 1 bifolium; 3 pages of music; 2v blank. Agnus Dei: usual paper (LE); 1 folio (18 staves) and 1 bifolium (22 staves); manuscript incomplete, a large part in pencil: 1 page of music (1r), sketches on 2 pages (1v, 2v); 2r: sketch of the First Impromptu Op. 25; 3r: unidentified sketch; 4v blank except for a list of parts and performers. 2. Parts: Kyrie: in a cover with the indication, front: “[not autograph, ink] Kyrie/Parties du chœur/et violon solo [two illegible words]”; usual paper (LE), 10 and 18 staves; single folia (4 copies of first soprano part, 3 copies of second soprano part, 1 copy of violin part); one copy of second soprano part has sketch of Gloria, verso, and is itself completed on verso of violin part for the Gloria. Gloria: in a cover with the indication, front: “[not autograph, ink] Gloria/Parties de chœur/et de violon”; usual paper (L), 10 staves, usual paper (LE), 10 and (violin part) 22 staves, and unidentified paper, 18 staves; single folia, single bifolia, or single bifolia with single folia laid in center (7 copies of soprano part, 1 copy of violin part).

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Gabriel Fauré: A Guide to Research

Sanctus: in a cover with the indication, front: “[not autograph, ink] Sanctus/Parties de chœur”; usual paper (LE), 18 and 20 staves, and unidentified paper, 10 staves; single folia (3 copies of first and second soprano parts, 2 copies each of first soprano and alto parts, the second of which includes the Agnus Dei). “O salutaris”: in a cover with the indication, front: “[not autograph, ink] O Salutaris/Parties du chœur/et violon solo”; usual paper (LE), 10,18, and 20 staves, and unidentified paper, 18 staves; single folia or half-folia (4 copies of first soprano part, 3 copies of second soprano part, 2 copies of alto part, 1 copy of violin part). Agnus Dei: in a cover with the indication, front: “[not autograph, ink] Agnus/Parties du chœur”; usual paper (L), 10 staves, and usual paper (LE), 18 staves; single folia (5 copies of first and second soprano parts, 2 copies of alto part). MS 20302

Messe de l’Association des pêcheurs de Villerville (Messe basse), WwO, 1882 version with chamber orchestra, score

In the hand of Messager, except for orchestration of the Agnus Dei which is autograph. Usual paper (LE), 18 staves; 14 bifolia (6 bifolia, 2 bifolia not gathered, 3 bifolia, 2 bifolia with single bifolium inserted between 3v and 4r), all sewn; 51 pages of music (Kyrie 1v, Gloria 8v, Agnus Dei 17r, “O salutaris” 23r, Sanctus 26r), one crossed out (20v); 1r as title page: “[center, black ink, not autograph] Messe de l’Association des Pêcheurs/de Villerville/G.Fauré—A.Messager”; 22rv, 28rv blank. Rés Vma ms 991

Tantum ergo, Op. 55, version with string quintet, harp, and organ; instrumental parts

1. Violin part, in the hand of a copyist: unknown paper, 25× 31.5 cm, 12 staves; 1 bifolium; 2 pages of music; 1r as title: “[upper right, black ink, not autograph] 1rs violons/[center] Tantum Ergo/de/G. Fauré”; 2v blank; ms had been folded lengthwise. 2. Organ part, in a different hand which appears to be that of Fauré23: usual paper (LE), trimmed to 24×32 cm, 20 staves; 1 bifolium now separated; 3 pages of music; 2v blank; includes throughout, pencil, indications for registration.

Primary Sources Rés Vmb 49

77

Requiem, Op. 48

Piano-vocal score with autograph annotations and corrections. Secular choral works Fonds Bibliothèque Nationale MS 17750

Les djinns, Op. 12, reduction for chorus and piano

Usual paper (LE), 22 staves; 3 bifolia with 1 folio laid in center; 10 pages of music; 1r as title page: “[upper center, black ink, autograph] Les Djinns/G.Fauré/(répétiteur)”; 1v, 2r, 7v blank; numerous pencil corrections. MS 20805

Madrigal, Op. 35, version with orchestra, score

Usual paper (LE), 20 staves; 7 bifolia; 26 pages of music, one crossed out (6v); 1r as title page: “[upper left, ink, not autograph] Jeudi 10h/ [upper right, autograph] partition/chœur et orchestre/[center] Madrigal/ [pencil, not autograph] Gabriel Fauré/[ink, autograph] Gabriel Fauré/ 154 Boulevard Malesherbes”; 14v blank; publisher’s marks and performer’s annotations [not autograph]. MS 20807

La naissance de Vénus, Op. 29, version with orchestra, score

Manuscript in a cover with the indication, front: “[not autograph] Fauré/ La Naissance de Vénus.” Manuscript proper: paper by Lard-Esnault, 31.4×44.5 cm, 28 staves; 47 folia, bound; 90 pages of music numbered 1–86 beginning with 1v with extra pages numbered 23bis, 24bis, 24tri, and 25bis; 1r as title page: “[upper center, pencil, not autograph] Gabriel Fauré/La Naissance de Vénus”; 3v, 26v, 27v crossed out. Partially autograph MS 20981

Les djinns, Op. 12, score

Title, choral parts, clefs for string parts, and tempo markings are not autograph. Paper by Lard-Esnault, 31.3×44.4 cm, 32 staves; 21 folia, bound; 40 pages of music; 1r as title page: “[upper center, ink, not autograph] Les Djinns/Choeur avec Orchestre/[left center] Poésie de/Victor Hugo/[right center] Musique de/Gabriel Fauré/(Op. 12)”; 21v blank; autograph performance markings in pencil and blue pencil; publisher’s marks.

78 Rés Vmb 54

Gabriel Fauré: A Guide to Research La naissance de Vénus, Op. 29

Published score (reduction for voices and piano) with autograph corrections: pp. 29ff, underlay corrected in pencil (MS 20807, above, is as the published score.); p. 54, note corrected in ink; pp. 1–2 and 17–24 missing. Piano works Fonds Conservatoire MS W13, 62

Dolly, Op. 56, No. 3, Le jardin de Dolly

Bound in a large volume with manuscripts or letters from a number of musicians including Gounod, E.Lalo, Liszt, Tchaikovsky, and Fauré (61). Manuscript proper: usual paper, 20 staves; 5 folia; 9 pages of music; 1r as title page: “[top, pencil, not autograph] Le Jardin de Dolly/[upper center, black ink, autograph] N° 3 pour l’Album de Dolly/1er Janvier 1895”; signed, 5v: “Gabriel Fauré”; engraver’s marks; the two parts in score throughout. MS 414

Préludes, Op. 103, No. 1

Manuscript in a cover. Manuscript proper: usual paper (LEB), 22 staves; 2 bifolia; 3 pages of music; 1v, 2v, 3v, 4r blank, 4v blank except for pencil sketch; manuscript incomplete; signed and dated, 1r: “Gabriel Fauré/1910”; manuscript bears the library stamp of Charles Malherbe. Rés Vma ms 502

Préludes, Op. 103, No. 6

Usual paper (LEB), 20 staves; 2 bifolia; 3 pages of music; 1r as title page: “[upper right, pencil, not autograph] Autographe de G. Fauré/ [upper center] Prelude/[center, black ink, autograph] N° 6”; 3r–4v blank. Rés Vma ms 504

Pièces brèves, Op. 84, No. 6

Usual paper (LEB), 20 staves; 2 bifolia; 4 pages of music; 1r as title page: “[upper right, pencil, not autograph] Autographe de Gabriel Fauré/[center, black ink, autograph] petites pièces pour piano/N° 6”; 1v, 2r, 4v blank; manuscript has been folded top to bottom in thirds.

Primary Sources

79

Fonds Bibliothèque Nationale MS 17740

Second Barcarolle, Op. 41

Usual paper (LE), 18 staves; 3 bifolia with 2 folia laid in center, all sewn; 10 pages of music in purple ink with sections in black; 1r as title page: “[center, purple ink, autograph] à Mademoiselle Marie Poiterin/ 2ème Barcarolle/op. 40 [‘40’ crossed out and corrected, pencil, to ‘41’]/ [ink] Gabriel Fauré/Taverny—aout [sic] 1885”; 6v–8v blank; manuscript has been folded top to bottom; engraver’s marks. MS 17741

Third Barcarolle, Op. 42

Usual paper (LE), 18 staves; 3 bifolia with 1 folio laid in center, all sewn; 11 pages of music; 1r as title page: “[center, black ink, autograph] à Madame H.Roger Jourdain/3ème Barcarolle/op. 42 [‘42’ crossed out, ink, but restored, pencil]/Gabriel Fauré”; 7rv blank; manuscript has been folded top to bottom; engraver’s marks including crossing out the title page. MS 17742

Eighth Barcarolle, Op. 96

Usual paper (LEB1), 16 staves; 3 bifolia; 10 pages of music; 1r as title page: “[center, black ink, autograph] à Mademoiselle Suzanne AlfredBruneau/8ème Barcarolle/pour le piano/op./Gabriel Fauré”; 6v blank; manuscript stained; engraver’s and publisher’s marks including copyright date, 1r: “1908.” MS 17743

Eleventh Barcarolle, Op. 105

Usual paper (LEB), 20 staves; 5 bifolia written on recto only; 9 pages of music in blue and black ink; 1r as title page: “[center, pencil, not autograph] à Mademoiselle Laura Albeniz [sic]/[blue pencil] G. Fauré/ 11e Barcarolle”; engraver’s and publisher’s marks including copyright date, 1r: “1913.” MS 17755

Second Impromptu, Op. 31

Usual paper (LE), 18 staves; 2 bifolia not gathered within 2 folia (possibly a bifolium separated); 9 pages of music; 1r as title page: “[center, black ink, autograph] à Mademoiselle Sacha de Rebina/2ème Impromptu/(en fa mineur)/pour Piano/Gabriel Fauré/op. 31”; 2r as duplicate title page (“2 e” instead of “2ème”); 1v blank; dated, 6v:

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Gabriel Fauré: A Guide to Research

“Paris—Mai 1883”; manuscript has been folded top to bottom and side to side; engraver’s marks including crossing out the title pages. MS 17756

Fourth Impromptu, Op. 91

Usual paper (LEB), 18 staves; 4 bifolia; 14 pages of music; 1r as title page: “[center, black ink, autograph] à Madame de Marliave (Marguerite Long)/4e Impromptu/pour piano/Gabriel Fauré op. 91”; 8v blank; publisher’s marks including copyright date, 1r: “1906.” MS 17759

Ninth Nocturne, Op. 97

Usual paper (LEB), 18 staves; 2 bifolia; 6 pages of music; 1r as title page: “[center, black ink, autograph] à Madame Alfred Cortot/ Neuvième Nocturne/Gabriel Fauré op.”; 4v blank; manuscript soiled; publisher’s marks including copyright date, 1r: “1908.” MS 17760

Tenth Nocturne, Op. 99

Usual paper (LEB), 18 staves; 3 bifolia; 8 pages of music; 1r as title page: “[upper right, black ink, autograph] à Madame Brunet-Lecomte/ [upper center] 10ème Nocturne/op. 99/Gabriel Fauré [sic]”; 5v–6v blank; signed and dated, 5r: “Novembre 1908/Gabriel Fauré”; manuscript has been folded top to bottom; engraver’s marks including date, 6v: “ 10–11–08”; publisher’s marks including copyright date, 1r: “1908.” MS 17767

Préludes, Op. 103, No. 2

Usual paper (LEB), 20 staves; 5 bifolia written on recto only; 7 pages of music; 1r as title page: “[center, black ink, autograph] Trois préludes/N° 2 (ut# min)/Gabriel Fauré/op. 103”; 9rv, 10v blank, 10r blank except for part of a measure crossed out; publisher’s marks including copyright date, 1r: “1910.” MS 17784

Second Valse-Caprice, Op. 38

Usual paper (LE); 9 folia sewn (1 folio [16 staves?], 1 bifolium [14 staves] within which are 1 folio [14 staves] and 2 bifolia [18 staves] gathered, 1 folio [14 staves]) with folio sewn over 5v as correction; 14 pages of music and one crossed out (7v); 1r as title page: “[center, black ink, autograph] 2 ème Valse-Caprice/op. 37 [‘37’ crossed out and corrected to ‘38’]”; 9r: final six measures, crossed out; 9v blank except

Primary Sources

81

for a few notes [pencil]; 6v, 7r: corrections sewn on; 8r: passage tipped on; signed and dated, 8v: “Juillet 1884/Gabriel Fauré”; manuscript not in good condition, 1r torn. MS 17922

Dolly, Op. 56, No. 1, Berceuse

Usual paper (LE), 20 staves; outer bifolium containing 2 bifolia not gathered; 6 pages of music; 1r as title page: “[center, black ink, autograph] à Dolly Bardac/Berceuse/Gabriel Fauré”; 3v, 4r, 5v–6v blank; the two parts on facing pages throughout. MS 17943

Seventh Nocturne, Op. 7424

Usual paper (LEB), 20 staves; 3 folia followed by 2 bifolia gathered; 12 pages of music; 1r as title page: “[upper center, pencil, autograph] 7ème Nocturne/Gabriel Fauré”; 7v blank; title page bears the library stamp of Alfred Cortot25; manuscript, particularly first folio, worn. Bound with the manuscript in a blue folder embossed in gold are three letters. The first (Alfred Cortot, June, 1951) details the acquisition of the first page of the manuscript and indicates that it was used for the piece’s premiere; the second (Pierre Borel, 26 December 1950) proposes the sale of the first page to Cortot; the third (Robert Lehman, 7 December 1962) offers the manuscript to Nadia Boulanger as a gift. MS 20136

Twelfth Barcarolle, Op. 106bis

Usual paper; 1 folio (24 staves) followed by 4 bifolia (20 staves) gathered and sewn and written on recto only; 6 pages of music; 1r as title page: “[upper right, black ink, autograph] à Louis Diemer/[upper center] I2e Barcarolle/Gabriel Fauré/Sept. 1915”; 1v, 8r–9v blank. MS 20296

Pièces brèves, Op. 84, No. 3

Usual paper (LE), 20 staves; 1 bifolium; 2 pages of music; 1r as title page: “[center, black ink, autograph] Petite Fugue”; 2v blank; signed, 2r: “Gabriel Fauré”; manuscript worn at edges. MS 20802

Pièces brèves, Op. 84, No. 2

Usual paper (LEB), 20 staves; 2 bifolia not gathered; 4 pages of music; 1r as title page: “[upper center, pencil, autograph] Feuillets d’album [black ink] (3 pièces pour le piano)/[pencil] N° 1 [‘1’ written over ‘2’ 26]/Gabriel Fauré”; 3v–4v blank; signed, 3r: “Gabriel Fauré”;

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manuscript soiled and has been folded top to bottom and side to side; engraver’s marks. MS 20803

Dolly, Op. 56, No. 4, Ketty-Valse

Usual paper (LEB), 20 staves; 3 bifolia with 2 folia laid in center, all sewn; 10 pages of music; 1r as title page: “[center, black ink, autograph] N° 4/Ketty-Valse/[right center] à Dolly/20 juin 1896/Gabriel Fauré”; 1v, 2r, 7v–8v blank; engraver’s marks; the two parts on facing pages throughout. MS 20806

Dolly, Op. 56, No. 2, Miaou!

Usual paper (LE), 20 staves; 3 bifolia, sewn; 8 pages of music (mispaginated: two pages are marked “3”); 1r as title page: “[upper left, pencil, autograph] N° 2/[upper right] ‘Miaou! ’/[black ink] à Dolly/pour le 20 juin 1894/Gabriel Fauré/[center, faint pencil] Pour l’Album de Dolly”; 5v–6v blank; dated, 5r: “19 juin 1894”; manuscript worn and stained; engraver’s marks; the two parts in score throughout. Partially autograph Rés Vma 235

First Nocturne, Op. 33, No. 1 Second Nocturne, Op. 33, No. 2 Fifth Nocturne, Op. 37

Published scores (Hamelle, 1883–1885) with numerous autograph corrections. Chamber works Fonds Conservatoire MS W12, 41–2

Andante, Op. 75, violin and piano

1. Score (41): paper by Lannoy, 20 staves, 27×35 cm; 7 folia, sewn; 11 pages of music; 1r as title page: “[top to center, black ink, autograph] Andante/pour violon et piano Op. 75/à Johannes Wolff/Gabriel Fauré/ Paris Juillet 1897”; 1v, 2r blank; engraver’s marks. 2. Violin part (42): Same paper; 2 folia, sewn with score; 2 pages of music; 1r as title page: “[top, pencil, not autograph] Andante/G.Fauré/ Violon”; 2v blank.

Primary Sources MS 41727

83

String Quartet, Op. 121

1. First movement: usual paper, 18 staves; 4 bifolia with 1 folio laid in after 2v, sewn; 12 pages of music, last two measures incomplete; 1r as title page: [upper right] cigarette burn and white stain/“[across stain, black ink, autograph] Annecy-le-Vieux/[center] I/Quatuor”; corrections glued in: to last system (6v) or whole pages (4v, 7v); 1v, 2r, 8v–9v blank. 2. Second movement: same paper; 5 bifolia, sewn; 13 pages of music; 1r as title page: “[upper right, black ink, autograph] Annecy-le-Vieux/ [center] II/Quatuor”; 2r: “[center right, ink, autograph] Annecy-leVieux/[upper center] II”; 3r: “[top, black ink, autograph] II”; 1v, 2v, 10rv blank; 10 slightly torn. 3. Third movement: same paper; 8 bifolia, sewn; 24 pages of music; 1r as title page: “[upper right, black ink, autograph] Annecy-le-Vieux/ [ink overwritten with pencil] III”; 6r: [lower left] cigarette burn; 16r: [ink] a staff with a few measures of the violoncello part [crossed out, pencil]; 1v, 2r, 14v–15v, 16v blank. MS 9440

Second Piano Quartet, Op. 45

1. First movement: usual paper (LE), 20 staves; 10 bifolia gathered with 1 folio laid in after 8v, originally sewn; 37 pages of music (numbered 1– 37); 1r as title page: “[upper center, ink, autograph] à Hans de Bülow/ 2ème Quatuor/pour piano, violon, alto/et violoncelle/op. 45/ Gabriel Fauré”; 19v crossed out; 20v–21v blank; manuscript has been folded in thirds top to bottom. 2. Second movement: usual paper (LE), 20 staves; 1 bifolium containing 2 folia, 2 bifolia gathered, and 1 bifolium all sewn; 17 pages of music (numbered 38–54); 1r as title: “[upper center, pencil, engraver?] Quatuor Fauré/[autograph] II”; 10r crossed out; 10v blank; manuscript has been folded in thirds top to bottom. 3. Third movement: usual paper (LE), 20 staves; 1 folio, 4 bifolia gathered, 1 folio all sewn; 19 pages of music (numbered 55–73); 1r as title: “[center, pencil, engraver?] Quatuor Fauré/[autograph] III.” 4. Fourth movement: usual paper (LE), 20 staves; 3 folia, 3 bifolia gathered containing in the center 1 folio, 1 bifolium, and 5 folia and containing 1 folio laid in before the last folio of the gathering, all followed by 1 bifolium and 2 folia, once all sewn; 38 pages of music (numbered 74–111); 1r as title: “[upper center, pencil, engraver?] Fauré, 2e Quatuor/[autograph] IV”; 4v, 10v, 17v crossed out; 22rv blank; manuscript has been folded in thirds top to bottom.

84 MS 17766

Gabriel Fauré: A Guide to Research Sightreading piece for two violoncelli, WwO

Usual paper (LEB), 20 staves; 1 bifolium; 2 pages of music; 1r as title page: “[upper right, pencil, not autograph] Violoncelle/Concours 1897/ Lecture”; 2v blank; signed, 2r: “Gabriel Fauré”; manuscript has been folded top to bottom and side to side. Fonds Bibliothèque Nationale FS 313

Adagio non troppo, WwO, for flute and piano

Facsimile of manuscript28; paper unidentified, 20 staves; 1 bifolium; 3 pages of music; 1r as title page[?]: “[not autograph] Flûte Concours Juillet 1898”; signed and dated, p. 3: “Gabriel Fauré/14 juillet 1898.” MS 17770

First Piano Quartet, Op. 15, fourth movement, 1883 version

Usual paper (LE), 18 staves (except 1 folio); 3 folia, 2 bifolia gathered, 3 bifolia gathered with 1 folio laid in center, 2 folia, 1 folio (12 staves), 1 folio; 29 pages of music; 1r as title page: “[upper right, pencil, not autograph] ut mineur/[upper center] 1er Quatuor de Gabriel Fauré/ Final”: penultimate page (15v) is a sketch, crossed out, of the Second Valse-Caprice Op. 38 as well as a sketch resembling that in MS 412; 16v–18v blank; engraver’s marks. MS 17774

Romance, Op. 69, version for violoncello and piano

Score and part together with the version for violoncello and organ (MS 17775) contained within a cover29 with the indication: “Romance en 1a op. 69/1—pour violoncello et piano/2—pour violoncello et orgue”; above the music in both score and part, opus number is given as “63.” 1. Score: usual paper (LE), 20 staves; 2 bifolia, gathered; 7 pages of music; 1r as title page: “[upper right, black ink, autograph] à Monsieur Jules Griset/[upper center, pencil, hand of Julien Hamelle30] Romance/ en La majeur/[black ink, autograph] Andante/pour Violoncelle et piano/ Gabriel Fauré”; manuscript has been folded top to bottom; engraver’s and publisher’s marks. 2. Violoncello part: usual paper (L), 12 staves; 1 bifolium; 2 pages of music; 1v: “[autograph?] Andante quasi allegretto” written over “[autograph] Adagio”; 2v blank.

Primary Sources MS 17775

85

Romance, Op. 69, version for violoncello and organ

Usual paper (L), 12 staves; 3 bifolia, gathered; 7 pages of music; 1r as title page: “[upper right, ink, not autograph] Romance en la Op. 69/ [upper center, erased, autograph] Adagio pour Violoncelle et [orgue]/ Gabriel Fauré”; 1v: “[autograph but different pen from manuscript] Andante”; 5r–6v blank. See MS 17774. MS 20298

First Violin Sonata, Op. 13, first movement complete, early version of second and third movements, fourth movement in sketches

Cover with the indication: “[upper center, ink, not autograph] Fauré/ Sonate pour violon op. 13/(Final inachevé).” Manuscript proper: usual paper (LE), 20 and 18 staves; 5 bifolia gathered, a single folio, a bifolium containing 2 bifolia, a single folio, 2 bifolia gathered containing a bifolium, a single folio, and 2 bifolia gathered all followed by 3 folia, a bifolium, and a single folio; 61 pages of music or sketches; 1r as title page: “[center, black ink, autograph] à Monsieur Paul Viardot/Sonate pour Piano et Violin”; 18r: “[upper center, black ink, autograph] Scherzo”; 14v, 23v, 29rv, 31v, 35rv blank. MS 21647

Second Violoncello Sonata, Op. 117

Cover: 1 bifolium of heavy paper, separated, enclosing 3 separate manuscripts; 1r: “[center, black ink, autograph] 2e Sonate/[blue ink, first word crossed out black ink, not autograph] Concerto pour Violoncelle/ et piano/[black ink, autograph] Gabriel [blue ink, not autograph] Fauré/ [left side, center to bottom, black ink, autograph] 2e Sonate/ [blue ink, not autograph, first word crossed out black ink] Concerto pour Cello et piano, Fauré.” 1. First movement: usual paper (LEB), 22 (outer bifolium) and 20 staves; 5 bifolia gathered, outer one separated; 15 pages of music; 1r as title page for work: “[center, black ink, autograph] à Ch. M.Loeffler/2ème Sonate/pour violoncelle et piano/[center right] Gabriel Fauré [not as signature]/op. 117/Paris 1921/Gabriel Fauré [signature]”; 2r as title page for movement: “[center, black ink, autograph] 2 e Sonate/ Violoncelle et piano/I/Gabriel Fauré/Allegro”; 1v, 10rv blank; engraver’s and publisher’s marks. 2. Second movement: usual paper (LEB), 20 staves; 3 bifolia gathered and sewn with 1 smaller folio (25×27 cm, 15 staves cut from usual paper

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Gabriel Fauré: A Guide to Research

[LEB], 18 staves) laid in center, tipped onto 3v; 7 pages of music,31 paginated 16–22 (continuing pagination of first movement); 1r as title page: “[center, black ink, autograph] 2e Sonate piano et/violoncelle/ II/ G.Fauré/Andante”; 5r–6v blank; engraver’s and publisher’s marks. 3. Third movement: usual paper (LEB), 20 staves; appear to have been 6 bifolia gathered and sewn (only 5 and the remainder of 6 remain sewn), but last folio has disappeared; 17 pages of music; 1r as title page: “[upper right, black ink, autograph] 2e Sonate/piano et violoncelle/ G.Fauré/III”; 10r–11v blank; engraver’s and publisher’s marks. MS 22144

Second Violin Sonata, Op. 108, score and part

1. First movement: usual paper (LEB), 16 staves; 8 bifolia gathered with 1 folio inserted after 5v; 30 pages of music; 1r as title page: “[upper center, pencil, not autograph] 2e Sonate/I”; 2r as inner title page: “[center, black crayon, not autograph] /IIe SONATE/Pno et Violon/G. Fauré/ MS.AUT”; 1v, 17v blank; 1r and 2r bear the library stamp of Alfred Cortot; manuscript has been folded top to bottom; engraver’s marks. 2. Second movement: usual paper (LEB), 18 staves; 6 bifolia gathered; 15 pages of music; 1r as title page: “[upper center, pencil, not autograph] II/[autograph?] 2e Sonate/pour piano et violon Andante.”: 1v, 9v–12v blank; manuscript has been folded top to bottom; engraver’s marks. 3. Third movement: usual paper (LEB), 16 staves; 6 bifolia gathered with 1 bifolium inserted after 11v, bifolia 2, 3, and 4 separated; 24 pages of music; 1r, engraver’s and publisher’s marks including: “[center, pencil] Fauré Sonate Vln et P°/[lower center, another hand] manuscrit autographe de G.Fauré/1917”; 2r: “[top, ink?, not autograph] G.Fauré 2e Sonate p° et vln—Final Suite”: 1v, 2v blank; 1r and 14v bear the library stamp of Alfred Cortot. 4. Violin part, first movement: paper by Fœtish Frères, 12 staves; 2 bifolia gathered; 6 pages of music; 1r as title page: “[upper center, pencil, not autograph] Violon/Allegro/I”; 4v blank; 1v bears the library stamp of Alfred Cortot; notation at end of movement, 4r: “[autograph] consulter la partie avec le piano”; manuscript has been folded top to bottom; performance markings; engraver’s marks.

Primary Sources

87

Partially autograph Rés Vma ms 895

First Piano Quintette, Op. 89, parts

In the hand of a copyist with autograph corrections and a major revision by Fauré to the end of movement III in each part. 1. Violin 1: usual paper (LEB32), 11 staves; 7 bifolia of which number 6 is formed of two folia glued together, sewn; 25 pages of music; 1r as title page: “[upper left, pencil, not autograph] en re mineur/[center, black ink, not autograph] 1° Violon/[black ink, autograph] 1er Quintette/ G.Fauré”; 13v crossed out; 14v blank; movements begin 1v, 5v, 8v; manuscript has been folded top to bottom; engraver’s marks; performance indications. 2. Violin 2: usual paper (LEB), 11 staves; 6 bifolia gathered, 1 bifolium, all sewn; 25 pages of music; 1r as title page: [black ink, not autograph] “2° Violon/[black ink, autograph] Quintette/G.Fauré”; 13v crossed out; 14v blank; movements begin 1v, 5v, 8v; manuscript has been folded top to bottom; engraver’s marks; performance indications. 3. Viola: usual paper (LEB), 11 staves; 5 bifolia gathered, 1 bifolium, all sewn; 23 pages of music; 1r as title page: [black ink, not autograph] “Alto/[black ink, autograph] 1er Quintette/G.Fauré”; movements begin 1v, 5r, 7v; manuscript has been folded top to bottom; engraver’s marks; performance indications. 4. Violoncello: usual paper (LEB), 11 staves; 5 bifolia gathered, 2 bifolia gathered, all sewn; 22 pages of music; 1r as title page: [black ink, not autograph] “Violoncelle/[black ink, autograph] 1er Quintette/G. Fauré”; 14r crossed out33; 12v, 13rv, 14v blank; movements begin 1v, 4v, 7v; manuscript has been folded top to bottom; engraver’s marks; performance indications. Orchestral works Fonds Conservatoire MS 15136

Ballade, Op. 19, revised version for piano and orchestra

Usual paper (LE), 22 staves; 38 folia bound; 74 pages of music; 1r as title page: “[upper right, black ink, autograph] Avril, 1881/[upper center] Ballade/[pencil, autograph?] op. 19/[ink, autograph] pour piano/ et/orchestre/Gabriel Fauré”; 38v blank; a few emendations to the piano part in another hand glued on; engraver’s marks.

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Fonds Bibliothèque Nationale MS 17749

Violin Concerto, Op. 14, first movement

Usual paper (LE), 22 staves; 1 cover bifolium (separated) in which are set 1 bifolium, a fascicule of 6 bifolia and 1 bifolium containing a fascicule of 6 bifolia (in which folia 2 and 3 and 11 and 12 are glued together) and a fascicule of 5 bifolia (in which the center two bifolia are glued together); 64 pages of music34; 1r as title page: “[center, pencil, autograph] Concerto de Violon/Gabriel Fauré”; folia which are glued show signs of being first versions of pages which replace them; 1v, 2r, 38v, 39v–40v blank, 39r blank except for section crossed out which corresponds to 16r (p. 28). MS 17751

Elégie, Op. 24, version with orchestra

Usual paper (LE), 20 staves; 8 bifolia, sewn; 22 pages of music, manuscript incomplete (solo violoncello and orchestral strings most nearly complete, in ink from beginning; winds indicated in pencil), last three pages in sketch; 1r as title page: “[center, pencil, not autograph] Elégie”; 13r: “[under last measure, pencil, autograph] quatuor?”; 1v, 2r, 13v–16v blank. MS 17753

Fantaisie, Op. 111, version for two pianos

Usual paper (LEB), most folia 20 staves, cover folio 24; 42 folia written on recto only, sewn at left edge (pink yarn); 39 pages of music, piano solo written below orchestral reduction throughout; 1r as title page: “[upper right, pencil, not autograph] Fantaisie/ manuscrit original écrit pour 2 pianos/[upper center, black ink, autograph] 2e piano”; 40r: a few incomplete measures of the opening with error of second piano entrance an octave too high; 5v, 10v, 11v, 15v, 22v, 30v, 31v: sketches and rejected fragments; 41rv: same paper as title folio, blank. MS 17780 (1, 3)

Suite, Op. 20, Allegro and Gavotte, score

1. Allegro: usual paper (LE), 18 staves; several fascicules, sewn; 44 pages of music beginning on 1r; 1r: “[top, ink, autograph] Suite d’orchestre Gabriel Fauré/[overwritten, darker ink] Allegro Symphonique/[pencil] Gabriel Fauré/[ink]N° I”; pencil sketches, pages 4, 10; emendations in pencil and red pencil.

Primary Sources

89

3. Gavotte: same paper; 3 bifolia, sewn; 11 pages of music beginning on 1r; emendations in pencil and blue and red pencil. MS 20300

Suite, Op. 20, [Allegro], Andante, and Gavotte; version for organ and orchestra, organ part

Not usual paper (see MS 20299), 27×35 cm, 16 staves; 6 bifolia; 14 pages of music; 1r as title page: “[upper right, ink, autograph] “Orgue/ [upper center] Symphonie./Gabriel Fauré”; 1v, 9r–12v blank; movements begin 2r, 5v, 7v. See also Vma ms 1190. Partially autograph Rés Vma 198

Fantaisie, Op. 111, version for two pianos, proofs

Corrections by Fauré [red ink] and by Alfred Cortot; 44 pages; bound with published score. Rés Vma ms 894

Fantaisie, Op. 111, version for piano and orchestra, score

The score is bound; title page, paper unidentified (LE?), 27 × 34.5 cm, 12 staves: “[upper center, blue pencil] Fantaisie/pour Piano et orchestre/ ——/Gabriel Fauré” and engraver’s and publisher’s marks; score: paper unidentified, 27×34.5 cm, 20 staves; 117 pages of music; page 115 crossed out.35 Vma ms 913

Fantaisie, Op. 111, version for piano and orchestra, score and instrumental parts

The score is in the hand of one copyist; three others copied the parts. 1. Score: paper unidentified, 27×35 cm, 22 staves; in 5 gatherings: 7, 6, 6, 6, and 5 bifolia sewn; 118 pages of music; only autograph marking is title, 1r: “[upper center, black ink] Fantaisie/copie de la partition d’orchestre”; pages 118–19 blank; performance indications in blue pencil. 2. Parts (31): flute (I–II), oboe (I–II), clarinet (I–II), bassoon (I–II), horns (I–II and III–IV), trumpet, timpani, harp, violin I (6 copies), violin II (5 copies), viola (4 copies), violoncello (4 copies), double bass (3 copies).

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Copyist 1, violin I (2 copies), violin II (2), viola (2), violoncello (2), double bass (1): unidentified paper, 27×35 cm, 10 staves; 1 folio and 1 bifolium sewn. Copyist 2, violin I (3), violin II (2), viola (1), violoncello (1), double bass (1): usual paper (LEB), 14 staves; violin I parts, 1 bifolium and 1 folio, glued; other parts 1 bifolium. Copyist 3, violin I (1), violin II (1), viola (1), violoncello (1), double bass (1), flute (1), oboe (1), clarinet (1), bassoon (1), horns I–II (1), horns III–IV (1), trumpet (1), timpani (1), harp (1): usual paper (LEB), 14 staves except harp, 12 staves; violin, viola, violoncello, bassoon, and horns I–II, 1 bifolium and 1 folio glued (violin I also sewn); double bass, flute, horns III–IV, and harp, 1 bifolium; oboe, 1 folio and 1 bifolium glued; clarinet, 2 bifolia gathered, sewn; trumpet and timpani, 1 folio. Rés Vma ms 954

Symphony in d minor, Op. 40, first violin part

Paper unidentified, 27.5×36 cm, 12 staves; 4 bifolia; 14 pages of music; 8rv blank; in the hand of a copyist (7v: “Autographie Baudoux 16 R.Nollet”) with autograph corrections glued on 4r, 5v: movements begin 1r (Allegro), 4v (Andante), and 5v (Final); two copies, marked “7e pupitre” and “8e pupitre.” Vma ms 1190

Symphony in F major [Suite], Op. 20, Allegro, Andante, and Gavotte; version for organ and string quintet, string parts

Usual paper (LE), 12 staves; autograph corrections; 1r as title page in each case. 1. First violin, copy 1:2 bifolia and 2 bifolia with 1 folio laid in after 3v, sewn; 16 pages of music; three movements begin 1v, 5v, 8r; 5r blank. 2. First violin, copy 2:2 bifolia, 2 bifolia, and 1 bifolium, sewn; 16 pages of music; three movements begin 1v, 5r, 7v; 9v–10v blank. 3. Second violin, copy 1:3 bifolia and 1 bifolium, sewn; 15 pages of music; three movements begin 1v, 5r, 7r. 4. Second violin, copy 2:2 bifolia and 2 bifolia, sewn; 15 pages of music; three movements begin 1v, 5r, 7r. 5. Viola: 1 folio, 2 bifolia, and 2 bifolia, sewn; 16 pages of music; 9v blank; three movements begin 1v, 5r, 7v.

Primary Sources

91

6. Violoncello: 2 bifolia and 2 bifolia, sewn; 13 pages of music; 4v, 8v blank; three movements begin 1v, 5r, 7r. 7. Double bass: 1 folio, 1 bifolium with 1 folio laid in center, and 1 bifolium, sewn; 11 pages of music; three movements begin 1v, 4r, 5v. See also MS 20300. Stage works Fonds Conservatoire MS 2465

See Fonds Bibliothèque Nationale, MS 17746 (1, 3–4).

Fonds Bibliothèque Nationale MS 17663

Caligula, Op. 52, 5th Acte, Air de danse, reduction for piano, 4 hands

Usual paper (LE), 14 staves; 2 bifolia with 1 bifolium and 1 folio laid in center; 9 pages of music (paginated 35 to 43); 1r as title page: “[top, pencil, autograph?] N° 2/[upper right and center, black ink, autograph] Caligula—5e acte/air de danse/[centered around the last phrase, pencil, autograph?] 5me acte/N° 1”; 1r: [upper right] stamp of the Théâtre de l’Odéon; 6r–7v blank. MS 17744

Barnabé, WwO, Sextuor

Usual paper (LE), 20 staves; 3 bifolia; 9 pages of music; 1r, 6rv blank; manuscript incomplete and closer to sketch than to fair copy (incomplete signatures, condensed scoring, vocal parts unlabelled). MS 17746 (1, 3–4)36

Caligula, Op. 52, Prologue and sections of the 5th Act, conductor’s score

1. Prologue: usual paper (LE), 24 staves; 11 bifolia gathered and sewn; 38 pages of music (paginated 1–38; 1r as title page: “[upper center, ink, hand of Saint-Saëns37] Caligula/[right center, pencil, unknown hand] Caligula/P on d’orchestre”; 5v, 6r: full page corrections glued over originals; 4v, 13v, 16v crossed out; 22rv blank. 3. 5th Act, [“De roses vermeilles”]: usual paper (LE), 22 staves; 8 bifolia gathered and sewn; 22 pages of music (paginated 68–89); 1r as

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title page: “[upper right, pencil, not autograph] 5e acte/[upper center/ pencil/another hand] Caligula/Mélodrame et Chœur N° 4”; 11v crossed out; 13r–16v blank; engraver’s marks. 4. 5th Act, [“César a fermé la paupière”]: usual paper (LE), 20 staves; 4 bifolia gathered and sewn; 12 pages of music (paginated 90–101); 1r as title page: “[upper right, pencil, not autograph] 5e acte/ [upper center, pencil, another hand] Caligula/Mélodrame et Choeur N° 5”; 5r crossed out; 1v, 8v blank. MS 17747

Caligula, Op. 52, section of the 5th Act, reduction for voices and piano

5th Act, [“De roses vermeilles”]: usual paper (LE); 1 bifolium (22 staves) containing 1 bifolium followed by 2 bifolia gathered (all 14 staves); 11 pages of music (paginated 44–54); 1r as title page: “[upper right, red pencil, not autograph] Caligula/[ink, another hand] 5e acte/ [pencil except for parentheses which are ink] (N° 3) [ink] 2e chœur”38; 1v, 7v–8v blank. MS 17758

Le bourgeois gentilhomme, WwO, Menuet, score

Manuscript in cover of heavy paper by Killian (stamp, 2v); 1 bifolium; 1r: “[red ink, not autograph] Menuet/[black ink] Gabriel Fauré.” Manuscript proper: paper unidentified but usual size, 22 staves; 1 folio and 1 bifolium, glued; 4 pages of music; 1r as title page: “[upper center, pencil, not autograph] Menuet Gabriel Fauré”/[left] list of instruments; 3v blank; engraver’s marks and performer’s annotations. MS 17762

Pelléas et Mélisande, Op. 80, short score

Manuscript represents an early stage of composition before orchestration; number of staves per system varies as needed. 1. Prélude: usual paper (LEB), 20 staves; 3 bifolia; 6 pages of music; 1r as title page: “[upper center, black ink, autograph] Prélude/Pelléas et Mélisande/Gabriel Fauré/[lower right, pencil, not autograph] I”; 4v–6v blank; signed and dated, 4r: “Pélléas et Melisande39/Prélude—Mai 1898 Gabriel Fauré.” 2. Fileuse: same paper; 1 bifolium containing 1 folio and 2 bifolia gathered; 8 pages of music; 1r as title page: “[upper center, pencil, not autograph] Pelléas et Melisande/piano/[lower right, pencil] fileuse II”; 5v–7v blank.

Primary Sources

93

3. Molto Adagio [“Mort de Mélisande”]: same paper; 2 bifolia; 5 pages of music; 1r as title page: “[upper center, black ink, autograph] 5e acte/[pencil, not autograph] pelléas/[lower right] III”; 4rv blank. See items 75 and 76. MS 17763

Pelléas et Mélisande, Op. 80, Prélude, score

Paper unidentified, 31.5×44.5 cm, 28 staves; 1 cover bifolium (separated) in which are set 3 bifolia gathered containing 1 folio and 1 bifolium, all sewn; 17 pages of music; 8v crossed out, 1r and 10v–11v blank. See items 75 and 76. MS 17764 (1–3)

Pelléas et Mélisande, Op. 80, Fauré’s reorchestration of the suite from Kœchlin’s orchestration of the music for stage

Paper unidentified, apparently cut down to 31.6×36 cm, 24 staves; manuscript in poor condition; engraver’s marks. 1. Prelude: 11 folia; 18 pages of music; 1r as title page: “[upper right, black ink, autograph] Pélleas [sic] et Mélisande/Prélude/Gabriel Fauré/ Paris Juin 1898”; 1v, 2r, 11v blank. 2. Fileuse: 1 bifolium (separated) containing 10 folia; 19 pages of music; 1r as title page: “[upper right, pencil, autograph] Pelleas et Melisande [sic]/2e Entracte (Fileuse)/Gabriel Fauré”; 1v, 2r, 12rv blank. 3. “Mort de Mélisande”: 1 folio, 2 bifolia gathered containing 1 bifolium and 1 folio; 13 pages of music; 1r as title page: “[upper right, pencil, autograph] Pelleas et Melisande [sic]/4e Entracte/G.Fauré”; 3v crossed out, 8v blank. See items 75 and 76. MS 17768 (1–6)

Prométhée, Op. 82, Fauré’s reorchestration of sections for symphony orchestra

Described as “manuscrit du travail” including sketches 40; in 6 fascicules. 1. Prélude (Act I): paper unidentified, 30×40 cm, 28 staves; 5 bifolia gathered, 4 folia laid in; 19 pages of music; 1r and 3v, sketches; 1v–3r and 4r–5r blank. 2. “Air de Gaia” (Act I/3): same paper as Prélude; 7 bifolia gathered with 2 bifolia gathered laid in before last folio; 22 pages of music; 3v crossed out; 14r and 15r sketches for 2r and 7r, respectively; 12r, 13rv, 14v, 15v–18v blank.

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3. “Apparition des dieux” (Act I/6): LEB paper, 30×40 cm, 30 staves; 4 bifolia gathered followed by 4 bifolia gathered with 3 bifolia gathered laid in before penultimate leaf; 19 pages of music; 1r, above score: “[pencil, not autograph] Prométhée/Ière Scène des Dieux/No 6 du Ie Acte/ orchestration symphonique”; 4r crossed out; 12v, 13r, 14v, 16r sketches; 4v, 5r, 12r, 13v, 14r, 15rv, 16v–22v blank. 4. “Fin de Chœur des Océanides” (Act III/4): LEB paper, 30× 40 cm, 30 staves; 1 bifolium containing 1 folio, 1 bifolium, and 1 folio, all sewn; 9 pages of music; 1r: pencil markings in the same hand as Section 3, 1r; 6rv blank. 5. “Duo Bai, Kratos” (Act III/5): LEB paper, 30×40 cm, 30 staves; 2 bifolia gathered with leaf laid in center, all sewn; 9 pages of music; 1r: pencil markings in the same hand as Section 3, 1r. 6. Sketches for Act III/5: LEB paper, 30×40 cm, 30 staves; 11 folia. MS 17776

Le bourgeois gentilhomme, WwO, Sérénade, piano-vocal score

Usual paper (LE), 20 staves; 2 bifolia gathered; 5 pages of music; 1r as title page: “[upper right, pencil, not autograph] Serenade [sic] du Bourgeois Gentilhomme”; 4rv blank; dated, 3v: “Lundi 27 février”; stains from the manuscript’s having been closed while the ink was wet. MS 17777

Shylock, Op. 57, orchestra score

Usual paper (LE), 20 and 22 staves; 164 pages of music; two sections in the hand of a copyist one of which is recopied, autograph, in the key of publication. MS 17778

Le bourgeois gentilhomme, WwO, Sicilienne, incomplete version for chamber orchestra

Usual paper (LE), 22 staves; 1 bifolium; 2 pages of music corresponding to 1v–2v plus last 9 measures of MS 17779; 1r as title page: “[upper center, blue pencil, autograph?] Sicilienne/partition”; 2v blank; pencil corrections, generally overwritten in blue pencil.

Primary Sources MS 17779

95

Le bourgeois gentilhomme, WwO, Sicilienne, pre-orchestral draft

Usual paper (LE), 20 staves; 2 bifolia gathered; 6 pages of music; 1r as title page: “[upper center, pencil, autograph] Sicilienne”; 4v blank; signed and dated, 4r: “Mars 1893/Gabriel Fauré.” MS 17786

Le voile du bonheur, Op. 88, score

Manuscript in cover with indication: “[black ink, not autograph] Le/ [red ink] Voile du Bonheur/ [black ink] Georges Clémenceau [sic]/ Gabriel Fauré.” Manuscript proper: usual paper (LEB), 22 staves; 9 bifolia sewn with 2 folia removed from first half; 27 pages of music; 1r as title page: “[upper left, purple stamp] PARTITION/[upper center, black ink, autograph] Le Voile du Bonheur/de Georges Clémenceau [sic]/musique de scène/Gabriel Fauré”/[left, ink and pencil] orchestration listed; 1v, 2r, 16rv blank; manuscript served as conducting score. MS 17789

Pelléas et Mélisande, Op. 80, Chanson de Mélisande, pianovocal score

Usual paper (LEB), 20 staves; 2 bifolia gathered, outer now separated; 4 pages of music with English text by J.W.Mackail; 1r blank except for signature in pencil of B[eatrice] E.Campbell; 3v–4v blank; signed and dated, 3r: “31 mai 1898/Gabriel Fauré”; manuscript in black ink with correction at measure 5 in faded blue ink. See items 75 and 76. MS 20808

Prométhée, Op. 82, Act I, No. 3, Fauré’s reduction for strings

Usual paper (LEB), 18 staves; 1 bifolium folded inside out; 4 pages of music; 2v (page 1): “[bottom, black ink, not autograph] M. Fauré chez M.Castlebon de Beauxhostes/Béziers/Hérault.” MS 20922

Masques et bergamasques, Op. 112, orchestral suite in reduction for two pianos

Manuscript bound with decorative cover signed “Jack 1928” and marred by a cigarette burn. Manuscript proper: paper unidentified, 16 staves (1r–15v and 24r– 30v), and usual paper (LEB), 18 staves (16r–23v); 30 folia; 38 pages of

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music; 1r as title page: “[upper center, black ink, autograph] à mes arrières petites-nièces Nicole et Huguette Réveillac/‘Masques et Bergamasques’/I Ouverture 2 Menuet 3 Gavotte/4 Pastorale/pour piano à quatre mains op. 112/Gabriel Fauré”; 2r as inner title page to first movement: “[upper center, black ink, autograph] Masques et Bergamasques/I/ Ouverture”; 10r as inner title page to second movement: “[upper center, black ink, autograph] No 2/Masques et Bergamasques/[pencil, autograph?] II [ink, autograph] Menuet/Gabriel Fauré”; 16r as inner title page to third movement: “[upper center, pencil, not autograph] 5 [crossed out in red pencil and rewritten, ‘3’]/[black ink, autograph] Masques et Bergamasques/[pencil, autograph?] Ill [ink, autograph] Gavotte”; 24r as inner title to fourth movement: “[center, black ink, autograph] No4/ (Masques et Bergamasques)/[pencil, autograph?] IV [ink, autograph] Pastorale/Gabriel Fauré”; 1v, 9v, 10v, 11r, 15v, 16v, 17r, 18r, 23rv, 24v, 25r, 29r–30v blank; 17v blank except for preparation of the page (scoring in left margin, barlines); the two pianos in score throughout. Rés Vma ms 501

Le bourgeois gentilhomme, WwO, Sérénade

Manuscript in cover bifolium of rougher paper (red) with the indication, front: “[upper center, pencil, not autograph] Sérénade du Bourgeois Gentilhomme de G. Fauré.” Manuscript proper: usual paper (LE), 20 staves; 2 bifolia; 4 pages of music; 1r as title page: “[upper center, pencil, not autograph] Sérénade/ Bourgeois Gentilhomme”; 3v–4v blank; 1v: “[upper center, black ink, autograph] Acte I (Sérénade)”; manuscript soiled, especially 4v. Partially autograph MS 1794441 Pelléas et Mélisande, Op. 80, first version (London) for chamber orchestra In the hand of Charles Kœchlin with annotations and corrections by Fauré; folia 45–47 are also autograph. Manuscript served as conducting score and is worn; includes principal pieces and numerous interludes. It is in a cover of heavier paper with a brief notation in the hand of Nadia Boulanger, a label of the R.Owen Lehman Foundation, and Cortot’s bookplate; a second page bears an inscription from Robert Lehman to Nadia Boulanger dated September, 1967, as well as the notation in an unknown hand, “Version de Charles Kœchlin?”

Primary Sources

97

Usual paper (LEB), 26 and 20 staves (the latter the autograph section), and unidentified paper, 26×35 cm, 20 staves; 47 folia; 79 pages of music; 1r as title page: “[upper center, pencil not autograph] Overture/ [center, autograph?] Pelleas et Melisande [sic]/de Meterlink [sic]”; 45r: “[upper center, not autograph] N° 16/[upper right] Not used/ [center, ink, autograph] Pelleas et Melisande [sic]/[right center, not autograph] Not used”; 46v: sketch; 10v, 20rv, 32rv, 35v, 37v: inner titles, stage directions and cues, etc.; 1v, 22v, 31v, 44v, 45v blank. See MS 15458. 75.

Nectoux, Jean-Michel. “Le Pelléas de Fauré.” Revue de musicologie 67, no. 2(1981):169–90.

A history of the genesis of the piece; a detailed examination of the manuscript sources for the incidental music and the later orchestral suite, particularly the conducting score for the first London performance (MS 17944); mentions a second conducting score which Fauré had made in 1918 now in the archives of Hamelle.42 76.

Orledge, Robert. “Fauré’s Pelléas et Mélisande’.” Music and Letters 56, no. 2 (April 1975): 170–79.

An account of the circumstances surrounding the composition of the piece and a thorough study of the primary sources available to the author at the time; however, this article cannot be considered the last word on the subject since several manuscript sources have been donated to the Bibliothèque Nationale since 1975 (see item 75).43 Vma ms 675

Caligula, Op. 52, vocal and instrumental parts

In the hand of a copyist, Émile Baudoux, with autograph corrections, especially in the harmonium part which includes a piano-vocal reduction, autograph, of “Air de Danse” as well as several pages of the published reduction, in proof, tipped in and on; from the Théâtre de l’Odéon. Vocal parts (17): paper by Lard, 26.5×21 cm, 8 staves; each 3 bifolia gathered. Instrumental parts (27): paper by Lard, 27×35 cm, 12 staves and small cards, 22×14 cm, 12 staves; number of folia vary with the instrument.

98 Vma ms 915

Gabriel Fauré: A Guide to Research La passion, WwO, orchestra and choir parts

The 57 parts in several hands with a few autograph corrections. 1. Vocal parts: paper by Lard in various sizes (28×21, 28×23, and 27×21.3 cm), 8 staves. 2. Instrumental parts: paper unidentified, 27×35 cm, 12 staves. Vma ms 916

Prométhée, Op. 82, Act II, Prélude and first chorus, reduc tion for voices and piano

In the hand of a copyist with some autograph corrections. Paper unidentified; 8 bifolia; 29 pages of music; 1r as title page: “[upper center, pencil, not autograph] Prométhée/Gravé/2d acte”; 16rv blank; engraver’s marks. Vma ms 936

Shylock, Op. 57, instrumental parts

Paper unidentified, 27×35 cm; 18 parts with a few autograph corrections; from the Théâtre de l’Odéon. Rés Vma ms 940

Prométhée, Op. 82, score

One of two fair copies in the hand of Charles Eustace with a few autograph corrections; for the other, see Musée Clement-Ader, Muret, below, and microfilms of the Muret source in the Bibliothèque National: Vm micr 769 (score) and Vm micr 770 (parts). Paper unidentified, 31×44.5 cm, 42 staves with 4 added (2 above, 2 below) and paper by Paul Colin (Nîmes), same size, 36 staves; 105 folia bound; 208 pages of music; 1r as title page, not autograph; 1v blank. Miscellaneous Fonds Conservatoire MS 418

Andante molto, improvisation pour orgue en mi majeur44

Paper by LE, 24.2×31.8 cm, 10 staves; 4 folia; 7 pages of music; 4v blank except for 2 measures of opening; manuscript bears library stamp of Charles Malherbe.

Primary Sources

99

Fonds Bibliothèque Nationale MS 20292

Cadenza for W.A.Mozart, Piano Concerto No. 21 (K. 467), first movement, WwO

Usual paper (LE), 18 staves; 1 bifolium; 2 pages of music; 2rv blank; title in the hand of Camille Clerc45: “Cadence pour le 1er [sic] Concerto de Mozart/par Fauré.” Vmg 24995 Cadenza for L.van Beethoven, Piano Concerto No. 3, Op. 37, first movement, WwO Photocopy of manuscript location of which unknown.46 Paper unidentified, 18 staves; 4 pages of music; 1r: “[top, not autograph] Beethoven/manuscript autographe de Gabriel Fauré”; initialled and dated, page 4: “27 avril 1869/G.F.”47; fingerings and other performance indications. See Vma ms 1076. Non-autograph manuscripts Fonds Conservatoire MS 9008

Dolly, Op. 56, in orchestration by Henri Rabaud, score

In the hand of Rabaud whose name appears in pencil on the first and last page. Unidentified paper, 27.2×30.5 cm; 91 folia; 90 pages of music; 1r and all verso blank; engraver’s marks. Rés Vma ms 891

Requiem, Op. 48, instrumental parts48

The parts are organized in their library folder by movement rather than by instrument; the majority of them are in one hand although there are two, or perhaps three, others. 1. Introit and Kyrie, 8 parts for first viola (2 copies), second viola (2 copies), first violoncello, second violoncello, double bass, and timpani: usual paper (LE), 24×32 cm, 10 staves (except one part for second viola, 12 staves); each 1 bifolium (except timpani, 1 folio); 4 pages of music (except timpani, music recto, verso blank); all in hand one except second copy of second viola (hand two). 2. Offertoire, 6 parts for horns (in F), harp, first viola, second viola, first and second violoncello, and double bass: usual paper (LE), 24 ×32

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cm, 10 staves; single folio (horns, harp, violas, double bass) or 1 bifolium (violoncello); 2 pages of music except harp (music recto, verso blank) and violoncello (3 pages of music, 1 recto as title: “[upper center, black ink] 1° & 2° Violoncello/Messe de Requiem/Par G.Fauré/ Offertoire”); all in hand one. 3. Sanctus, 10 parts for harp, solo violin, first viola (2 copies), second viola, first and second viola together, first violoncello, second violoncello, double bass, organ: usual paper (LE), 10 staves (strings) and 12 staves (harp, organ) ; 1 folio (violoncello, double bass), 1 bifolium (violin, first viola, second viola), 1 bifolium with folio laid in and sewn (harp), 2 bifolia (first and second viola, organ); 1 (double bass), 2 (violoncello), 3 (violin, first viola, second viola), 5 (harp, organ), and 6 (first and second viola) pages of music; upper strings, harp, and organ, 1r as title: “[upper right, black ink] Harpe [or other instrument designation]/ [center] Messe des Morts/[triply underscored in blue pencil] par G. Fauré /[blue pencil] Sanctus”: organ, 1r: “[upper left, blue ball point] A la messe de/minuit il y a violon/solo”; remaining pages blank; vocal cues in harp part; suggested registration in organ part; all hand one. 4. Pie Jesu, eight parts for harp, first viola (2 copies), second viola, first and second viola together, first violoncello, second violoncello, double bass: usual paper (LE), 24×32 cm, 12 staves (double bass), 10 staves (harp and remaining strings); 1 folio (first viola, second viola, violoncello, double bass), 1 bifolium (harp, first and second viola); 1 (first viola, second viola, violoncello, double bass), 2 (harp, first and second viola) pages of music; harp and first and second viola, 1r as title in manner of 3, above; remaining pages blank; all hand one except double bass, hand two. 5. Agnus Dei, 7 parts for harp, first viola (2 copies), second viola, first and second viola together, first violoncello, and double bass49: usual paper (LE), 24×32 cm, 12 staves (second copy of first viola, second viola), 10 staves (harp and remaining strings); 2 bifolia gathered and sewn (first and second viola), 1 bifolium (remaining parts); 2 (harp), 3 (remaining parts for single strings), 6 (first and second viola) pages of music; all but first copy of first viola, 1r as title in manner of 3, above; remaining pages blank; all hand one except second copy of first viola and second viola, hand two. 6. Libera me, 9 parts for first and second trombones together, timpani, first viola (2 copies), second viola (2 copies), first violoncello, second violoncello, double bass: usual paper (LE), 24×32 cm, 12 staves (double bass), 10 staves (remaining parts); 1 folio (trombones, timpani),

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1 bifolium (remaining parts); 1 (trombone, timpani), 4 (remaining parts) pages of music; remaining pages blank; all hand two. 7. In paradisum, 7 parts for viola solo (and first viola), first viola (2 copies), second viola (2 copies), first violoncello, second violoncello: usual paper (LE), 24×32 cm, 10 staves; 1 bifolium; 2 pages of music; viola solo, 1r as title: “[upper left, pencil, not hand of copyist] 1er pupitre/ [upper right, black ink, copyist?] Alto Solo/et 1° Alto/[upper center] In Paradisum/—par—/G.Fauré”; first viola, first copy of second viola, 50 and violoncello, 1r as title: “[upper right] [instrument designation]/ [upper center] In paradisum”: second copy of second viola, 1r as title page: “[upper left, black ink] 2e Alto/[upper center] In Paradisum/par/G. Fauré”; remaining pages blank; all in hand one except second copy of second viola, hand three. Part for double bass: unidentified paper, 23×31 cm, 12 staves; 1 bifolium; 2 pages of music; 1r, 2v blank; hand four. Part for harp for entire piece except the Offertory: usual paper (LE), 24×32 cm, 10 staves; 5 bifolia gathered, sewn; 14 pages of music; 1r as title page: “[upper right, black ink] Harpe/[upper center] Messes des morts/—par G.Fauré—/[lower center] Sanctus/[blue pencil, unknown hand] et toute la messe/[pencil. librarian] [mq l’Offertoire]”; 7r: “[upper center, black ink] Volti pour/In Paradisum”: 9r–10v blank; hand one. See also MS 17717 and Rés Vma ms 892. Rés Vma ms 892

Requiem, Op. 48, parts for instruments and alto51

Nos. 1–7 in black ink with performance numbers in red and blue pencil, hand one; nos. 8, 9, and 12–14 in red and black ink with performance numbers in blue pencil, hand two; nos. 10 and 11 in black ink (the latter with performance numbers in blue pencil) in what appears to be a third hand. 1. First trombone (Libera me): unknown paper, 27×35 cm, 12 staves; 1 folio; 2 pages of music; recto, stamp of the Église de la Madeleine. 2. Second trombone (Libera me): unknown paper, 27×35 cm, 12 staves; 1 folio; 2 pages of music. 3. Third trombone (Libera me): unknown paper, 27×35 cm, 12 staves; 1 folio; 2 pages of music. 4. Bassoons (In paradisum): unknown paper, 27×35 cm, 12 staves; 1 folio; 1 page of music; 1r: “[upper left, pencil] Requiem/[upper center] No 7”; verso blank.

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5. Alto (In paradisum): unknown paper, 23×32 cm, 12 staves; 1 folio; 1 page of music; verso blank. 6. Violin (In paradisum): unknown paper, 27×35 cm, 12 staves; 1 folio; 1 page of music; verso blank. 7. Violin (In paradisum): unknown paper, 27×35 cm, 12 staves; 1 folio; 1 page of music; verso blank. 8. Soprano (Libera me): usual paper (LEB), 23×31 cm, 10 staves; 1 bifolium; 4 pages of music. 9. Soprano (Libera me, incomplete): usual paper (LEB), 23×31 cm, 10 staves; 1 folio; 2 pages of music; verso, correction to staves 5 and 6 tipped on. 10. Tenor (Libera me): usual paper (LE), 24×32 cm, 10 staves; 1 bifolium; 4 pages of music. 11. Tenor (Libera me): unknown paper, 23×31 cm, 12 staves; 1 bifolium; 3 pages of music; 2v blank except for “[upper center, pencil] Libera me Domine.” 12. First bass (In paradisum): unknown paper, 24×32 cm, 10 staves; 1 folio; 1 page of music; verso blank. 13. Second bass (In paradisum): usual paper (LEB), 23×31 cm (trimmed from original size), 10 staves; 1 folio; 1 page of music; verso blank except for “[upper center pencil] Gounod Mors et vita/prologue” and pencil line, diagonally from upper left to lower right. 14. Second bass (In paradisum): usual paper (LEB), 23×31 cm (trimmed from original size), 10 staves; 1 folio; 1 page of music; verso blank except for “[upper center pencil] Gounod Mors et vita/prologue.” See also MS 17717 and Rés Vma ms 891. Fonds Bibliothèque Nationale MS 15458

Pelléas et Mélisande, Op. 80, sketch of orchestration by Charles Kœchlin for first version (London)

In the hand of Charles Kœchlin; orchestration of the four pieces which make up the orchestral suite. Cover bifolium, 24 staves; 1r as title page: “[black ink, Kœchlin?] Ch.Kœchlin/Brouillon de/l’orch. de Pelléas et Mélisande/de Fauré.” 1. Prélude: usual paper (LEB), 26 staves; separate folia; 8 pages of music; dated, page 1: “[upper left] mai 1898”; dated, page 8: “1ère juin 98.” 2. Fileuse: usual paper (LEB), 30 staves; separate folia; 7 pages of music; dated, page 7: “23 mai 98.”

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3. Sicilienne: usual paper (LEB), 30 staves; separate folia; 8 pages of music; dated, page 8: “lundi 16 mai.” 4. Molto Adagio (“Mort de Mélisande”): usual paper (LEB), 26 staves; separate folia; 11 pages of music; dated, page 11: “5 juin 98”; blank and crossed out pages throughout. Tipped on to page 1 of Prélude is a notice by Mme Kœchlin indicating, erroneously, that this orchestration is the only one existing for the suite; also included is a preliminary note by Jean-Michel Nectoux explaining the relationship of this manuscript to others for the piece. See MS 17944. See items 75 and 76. MS 17765

Pelléas et Mélisande, Op. 80, Mélisande’s Song

Copy, in the hand of Alfred Cortot, of Kœchlin’s orchestration; in blue ball-point pen; voice part without text except for incipit, “The King’s, etc.” Cover: plain blue bifolium; 1r: “[Cortot] Melisande’s song/ chant et orchestre/Version de Londres 1898/Copie de la main/d’A. Cortot.” Manuscript proper: paper unidentified, 27×35 cm; 20 staves; 1 bifolium; 3 pages of music; 1r: “[upper center, blue ink, Cortot] Copie rigoureusement conforme du ms de la partition d’orchestre en ma possession utilisée pour les representations de Pelleas et Melisande [sic] à Londres [black ink] 1898/[original blue ink] A.Cortot”; 1v, above two measures crossed out in blue pencil: “(deux mesures barrées du crayon/ bleu dans mon ms—AC [initials in logo])”; 2v blank; manuscript has been folded top to bottom. See MS 17944. See items 75 and 76. MS 17769

Souvenirs de Bayreuth, WwO

In the hand of Messager. Usual paper (LE), 20 staves; 1 bifolium; 4 pages of music, 2 pianos in score throughout. MS 17783

Tarentelle, Op. 10, No. 2, version with orchestral accompaniment by André Messager

The manuscript, in the hand of Messager, is in a cover: “[center, black ink, hand of Fauré?] Tarentelle/2 soprani et orchestre/par A. Messager.”

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Manuscript proper: usual paper (LE), 20 staves; 5 bifolia, gathered; 15 pages of music; 1r as title: “[upper left, pencil, hand of Fauré?] 3 1er v./3 2./2 altos/2 velles/2 c. basses/[upper right, same hand] orchestré par Messager/[center, ink, hand of Messager?] Tarentelle/Duo pour Deux Soprani/avec Accompagnement d’Orchestre/[right]Musique de Gabriel Fauré”; 9r–10v blank. MS 19110

Trio for two violins and viola, WwO, score and viola part

Manuscript not autograph and not in the style of Fauré52; only the indication on 1r of the viola part connects the piece to the composer. 1. Score: usual paper (LEB), 12 staves; 1 bifolium; 4 pages of music. 2. Part: same paper; 1 bifolium; 2 pages of music; 1r as title page: “[center, blue pencil] Fauré”; 2v blank. Rés Vma ms 893

Benedictus, WwO, parts

In the hands of two copyists; in binder, the organ part bound verso/recto because of damaged left edge. 1. Organ: paper unidentified, 17.5×27 cm, 12 staves; 1 folio; 1 page of music; 1r as title page: “[center, pencil] Benedictus/Fauré.” 2. SATB solo and double bass: usual paper (LE), 23×30.7 cm, 10 staves; 1 folio each; 1 page of music each; verso of each folio blank. In B . Vma ms 895

Il est né le divin enfant, WwO, parts

The copyist is the same as that of the first copyist for Rés Vma ms 891; parts for violin and viola missing, organ part contains vocal line. 1. Oboe: usual paper (LE), 24×31.5, 10 staves; 1 bifolium; 3 pages of music; 1r as title: “[upper left, blue pencil, not the hand of the copyist] 1/ [upper right, black ink, copyist] Hautbois/[upper center] Il est né le Divin Enfant/~par~/G. Fauré”; stray marks in red and blue pencil. 2. Harp: usual paper (LE), 24×31.5, 12 staves; 1 bifolium; 3 pages of music; 1r above music: “[upper left, blue pencil, not the hand of the copyist] l/[upper right, black ink, copyist] Harpe/[upper center] Il est né le Divin Enfant/par G.Fauré”; 2v blank; cues for organ, violoncello, oboe, and voice added here and there in red ink (another hand), for oboe

Primary Sources

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in red pencil (possible a third hand), and in pencil (hand?) concerning a page turn. 3. Organ: usual paper (LE), 24×31.5, 12 staves; 2 bifolia gathered, sewn; 6 pages of music; 1r above music: “[upper left, blue pencil, not the hand of the copyist] B)/[upper right, black ink, copyist] Qrgue/ [upper center] Il est né le Divin Enfant/par G.Fauré”; 4rv blank; registration indicated in red pencil with pencil cross outs; cues for oboe and choir in red ink (hand?); 2r: piece of different paper tipped on over last system; 3r: oboe part tipped on first system. 4. Violoncello: usual paper, 24×31.5, 10 staves; 1 bifolium followed by 1 folio, glued on and sewn; 4 pages of music; 1r as title: “[upper left, blue pencil, not the hand of the copyist] 1/[upper right, black ink, copyist] Celli/[upper center] Il est né le Divin Enfant/par G. Fauré”; 3v blank; performance indications throughout in pencil, blue pencil, blue ball-point. 5. Double bass: usual paper, 24×31.5, 10 staves; 1 bifolium; 3 pages of music; 1r as title: “[upper left, blue pencil, not the hand of the copyist] 1/[upper right, black ink, copyist] Celli/[upper center] Il est né le Divin Enfant/par G.Fauré.” Vma ms 911

Cantique de Racine, Op. 11, version with orchestral accompaniment, string parts

Paper unidentified, 27×35 cm, 11 staves; 1 bifolium each; in each, 1r as title page: “[upper left] [instrument designation]/[center] Cantique de Racine/[lower right] Gabriel Fauré.” Vma ms 914

Ave Maria, WwO

Paper unidentified (blind stamp illegible), 24×31 cm, 12 staves; 1 bifolium; 3 pages of music (3 voice parts and organ in score); 1r as title page: “[upper left, broad blue pencil] Fauré G/[upper center, ink] Hommage au Gd St Bernard/Ave Maria/a 3 voix d’hommes/par/Gabriel Fauré”; 2v: “[after last system, ink] Compose a Champs d’Asile/à Courssous-Lausanne/en Août 1871,/à l’occasion de/l’ascension de l’Ecole/ Niedermeyer au Mont/St Bernard, et chanté/par les élèves a la/ Chapelle de l’Hospice”; 1r, 2v: stamp of the Société des auteurs, compositeurs, et éditeurs de musique; 1v: stamp “INSPECTIONS MUSICALES.” In A.

106 Vma ms 917

Gabriel Fauré: A Guide to Research Shylock, Op. 57, 3rd and 5th Tableaux, harmonium part

Paper unidentified, 23.5×31 cm; 11 pages; from the Théâtre de l’Odéon. Vma ms 918

Tarentelle, Op. 10, No. 2, version with orchestral accompaniment by André Messager, parts

Twenty-two parts in the hands of two copyists. 1. First violin (two copies), horns (first and second desk), triangle, tambourine: usual paper (L), 14 staves; 1 bifolium; 3 pages of music; 1r as title: “[upper right, stencil] l er VIOLON [or other instrument designation]/[center, ink] Tarentelle/[right] G.Fauré.” 2. First violin, second violin, viola: usual paper (L), 14 staves; 1 bifolium; 3 pages of music; 2v blank. 3. Second violin (two copies), viola, violoncello (two copies), double bass (two copies), trumpets, timpani: usual paper (L), 14 staves; 1 bifolium; 2 pages of music; 1r as title: “[upper right, stencil] [instrument designation]/[center, ink] Tarentelle/[right] G.Fauré”; 2v blank. 4. Flutes, oboes, clarinets, bassoons: usual paper (L), 14 staves; 1 bifolium; 4 pages of music. Vma ms 919

Tristesse d’Olympio, WwO

By an unknown copyist, c.1865.53 Paper unidentified, 26.3×34 cm, 12 staves; 2 bifolia gathered, the outer one separated; 7 pages of music; 1r, above music: “[black ink, centered] à mon ami Adam Laussel/Tristesse d’Olympio/[left] Poësie de V.Hugo [right] Musique de Gabriel Fauré”; 4v blank; 1r darkened, discolored; manuscript has been folded lengthwise; pencil indications which resemble engraver’s marks although the piece was not published. Ine. Vma ms 920

Le voile du bonheur, Op. 88, instrumental parts

Paper unidentified, 27×35 cm; 10 parts. Each part is in an orange folder, sewn except as indicated; on the front, except as indicated below: “[upper left, black ink] Violons [or instrument appropriate to the particular part]/[center] Le voile du bonheur/[lower left] Georges Clemenceau/[lower right] Gabriel Fauré.”

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1. Violin: Cover: “[upper left, blue pencil] 1r pupitre.” Manuscript proper: unidentified paper,54 27×35 cm, 11 staves; 3 bifolia; 10 pages of music; 1r, 6v blank. 2. Violin: Cover differs: “[upper left, green pencil] Violons/2e pupitre/ [center, blue pencil] Le voile du bonheur”; verso of cover: “[upper left, blue pencil] 2d pupitre.” Manuscript proper: unidentified paper, 27×35 cm, 11 staves; 1 bifolium with folio laid in followed by 1 bifolium, all fastened with tape; 8 pages of music; 1r, 3r blank. 3. Viola: unidentified paper, 27×35 cm, 11 staves; 3 bifolia; 10 pages of music; 1r, 6v blank. 4. Violoncello: unidentified paper, 27×35 cm, 11 staves; 3 bifolia; 10 pages of music; 1r, 6v blank. 5. Flute: unidentified paper, 27×35 cm, 11 staves; 3 bifolia; 10 pages of music; 1r, 6v blank. 6. Clarinet (B ): unidentified paper, 27×35 cm, 11 staves; 2 bifolia; 8 pages of music. 7. Trumpet (chromatic in F): unidentified paper, 27×35 cm, 11 staves; 1 bifolium; 2 pages of music; 1r, 2v blank. 8. Harp: usual paper (LEB), 12 staves; 3 bifolia; 11 pages of music; 6v blank. 9. Gong and tubophone, two copies in one folder: Part one: unidentified paper, 27×35 cm, 14 staves; 2 bifolia; 6 pages of music; 1r, 4v blank. Part two: unidentified paper, 27×35 cm, 14 staves; 2 bifolia gathered with bifolium laid in center and taped; 5 pages of music; 1r–2v, 3v–4r blank; 3r: “[upper left, blue pencil] Gong et/Tubophone/duplicata/ [center] Le voile du bonheur/[lower left] Georges Clemenceau [lower right] Gel Fauré.” Vma ms 990

Accompagnement, Op. 85, No. 3

Copy by Mimi Girette (Mme Edouard Risler). Contained in a red Durand folder; front: “[black ink] Accompagnement/Fauré/(copié par Mimi) [new hand] Me Edouard Risler/+1 imprimé [last line crossed out, pencil].” Manuscript proper: paper unidentified, 27×35 cm, 18 staves; 2 bifolia gathered containing 2 folia and 1 bifolium; 9 pages of music; 1r:

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“[upper right, pencil] Accompagnement”; 2r: “[upper center, blue ink] Avril 1902—[flush right] Mimi Girette”; 1v, 7r–8v blank; performance indications, pencil, in vocal part. Vma ms 1076

Cadenza for L.van Beethoven, Piano Concerto No. 3, Op. 37, first movement, WwO

Paper unidentified, 27×35 cm, 12 staves; 1 bifolium; 4 pages of music. See Vmg 24995. Vma ms 1077

Prométhée, Op. 82, version for symphony orchestra by Fauré and Roger-Ducasse

In the hand of Roger-Ducasse. Usual paper (LEB), 24 staves; bound in 3 volumes: Act I (Prelude and No. 1), Act I (remainder) to end of Act II, Act III; 357 pages of music; all versi blank except for occasional indications of spoken dialogue; manuscript was the copy rented for performance by Hamelle55 and is, indeed, full of performance markings. Vma ms 1189

Après un rêve, Op. 7, No. 1

By an unknown copyist. Usual paper (LE), 12 staves; 2 bifolia gathered; 4 pages of music; 1r as title: “[center, black ink] Après un rêve”; 3v–4v blank; paper brittle, darkened; text in French and Italian. Vma ms 1191

Messe de l’Association des pêcheurs de Villerville (Messe basse), WwO, 1882 version for chamber orchestra, parts

Paper unidentified, 27×35 cm; 9 parts (flute, oboe, clarinet, harmonium, first violin, second violin, viola, violoncello, double bass). Vma ms 1336

Le voile du bonheur, Op. 88, score

Cover: blue paper; front lettered in black and red as title page of manuscript; remainder of cover blank. Manuscript proper: paper by Killian (identifying mark, 15v), 26 ×34.5 cm, 28 staves; 1 bifolium containing 1 folio tipped onto a gathering of 6

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bifolia all sewn; 28 pages of music; 1r as title: “[upper left center, black ink] Le/[center on diagonal, red ink] Voile du Bonheur/[lower right, black ink] Georges Clemenceau [sic]/Gabriel Fauré”; 15v blank. Paris 1900 × (103)

Bibliothèque de l’Opéra Sixth Barcarolle, Op. 70, fragment

The opening six measures of the piece as a musical autograph bound with others in a book as an exhibit for the Exposition Universelle of 1900; paper is in blue, green, and gold with (recto) a view of Paris, 26.5×34 cm, 9 staves (recto) and 15 staves (verso); verso blank. Rés A843a Pénélope, WwO, score56 A letter from Philippe Fauré-Fremiet 57 and notes by JeanMichel Nectoux clarify the structure of the manuscript which is in the hand of Fauré except for passages by a copyist and for orchestration of much of Act II and the very end of Act III by Fernand Pécoud; pages were also prepared by a copyist (names of instruments, key signatures, barlines, and the text and music of the vocal parts). Paper from various sources including L.Andrieu and Papeterie F.Bayon, 28×36 cm, 24 and 26 staves; bound in two volumes. Volume 1: Act I, 477 folia; all in the hand of Fauré except for folia 175–178 recopied in another hand. Volume 2: Act II, 202 folia (missing folia 81–89 and 147–153); in the hand of Fauré to folio 57 and thereafter in the hand of Pécoud. Act III, folia paginated to 221 (missing folia 1–18) and 231–232; all in the hand of Fauré except 231 and 232 by Pécoud; a fascicule in Pécoud’s hand paginated 84–98 and inserted between folia 83 and 84 is the rewritten duo from Act II which replaces the missing folia 81–89 of that act. Rés 2005

Prométhée, Op. 82, working draft

A note by Philippe Fauré-Fremiet clarifies the ordering of the manuscript and indicates that it was sent, fascicule by fascicule, to Charles Eustace to be orchestrated for bands from passages some of which are orchestrated by Fauré in full or in sketch and some of which are in piano-vocal score. Usual paper, 22 staves (title page, 18 staves); 182 folia in 14 fascicules, bound; 230 pages58 of music.

110 Paris

Gabriel Fauré: A Guide to Research Archives de France

Piano works Aj37 2001

Pieces brèves, Op. 84, No. 5109

Paper unidentified, 18 staves; 4 folia; 3 pages of music; page 1: “[right center, black ink?, not autograph] Piano—Hommes/concours 1901”; signed and dated, page 4: “Gabriel Fauré/9 juillet 1901.” Harp works Aj37 1996

Sightreading piece for harp, WwO

Paper unidentified, 12 staves; 3 folia; 2 pages of music; page 1: “[upper right center, black ink?, autograph] Harpe/Morceau de lecture/ Gabriel Fauré”; signed and dated, page 3: “15 Juin 1904/Gabriel Fauré.” Non-autograph manuscripts Aj37 1996

Morceau de lecture, WwO, harp

Copy of the harp piece immediately above. Paper unidentified, 12 staves (not the same paper as the autograph copy); 3 folia; 2 pages of music; page 1: “[center, black ink] Harpe/ Concours—Juillet 1904/[pencil, different hand] Harpe et/Harpe Chr [remainder illegible] 1905.” Paris

Collection Thierry Bodin

Au bord de 1’eau, Op. 8, No. 1 Usual paper (LE), 26.3×33 cm, 20 staves; 1 bifolium sewn in a binder; 3 pages of music; 1r as title page: “[upper center, black ink, autograph] Au bord de 1’eau/poésie de Sully Prudhomme”; signed, 2v: “[blue ink] Gabriel Fauré/quand j’etais petit je n’étais pas grand/Je f’sais des melodies qu’on chant[*]’ maintenant!” [At the *, a drying pen is replaced with a full pen in black ink.] Puisque j’ai mis ma lèvre, WwO Paper unidentified, 25.5×33.3 cm, 16 staves; 1 bifolium which had been sewn (pages are numbered 207–210); 4 pages of music; 1r: “[top, black ink, autograph] Poesie [sic] de Victor Hugo/mise en musique par Gabriel Fauré”; signed and dated, 2v: “30 septembre 1863/Gabriel Fauré.”

Primary Sources Paris 77.

111 Collection Clauss-Szarvady

Eigeldinger, Jean-Jacques. “Note sur des autographes musicaux inconnus: Schumann—Brahms—Chopin—Franck—Fauré.” Revue de musicologiel 70, no. 1(1984):107–17.

A description of the manuscripts in the collection of the pianist, Wilhelmine Clauss-Szarvady (1834–1907), now held by her descendants. Saint-Saëns, Camille. Piano Concerto No. 4, Op. 44, transcription by Fauré for two pianos. Usual paper (LE),59 18 staves; 7 bifolia; 23 pages of music; 1r as title page: “[blue pencil, not autograph] 4e Concerto/Saint-Saëns/[red pencil] 2e p[ian]o”; 2r as inner title page: “[autograph] 4eme Concerto/de Camille StSaëns”; passages tipped on pp. 6, 12, 13, 14. Muret

Musée Clement-Ader

Prométhée, Op. 82, score and parts The score is one of two fair copies in the hand of Charles Eustace with somewhat fewer autograph corrections than the copy in the Bibliothèque Nationale (see Rés Vma ms 940) but otherwise identical. Parts are those used at the premiere. Score and parts are available on microfilm in the Bibliothèque Nationale (Vm micr 769 and Vm micr 770, respectively). Royaumont 78.

Collection François Lang Herlin, Denis. Collection musicale François Lang. Domaine musicologique, no. 13. Paris: Klincksieck, 1993. 301pp.

An annotated catalog of the collection. The Fauré manuscripts in this collection have been preserved as individual folia inserted into plastic envelopes and bound in loose-leaf binders. Songs and Duets Les présents, Op. 46, No. 1 Usual paper; 3 folia; 4 pages of music; 1r as title page: “[upper left, not autograph] 4000/Retenu ferme/par Mr François Lang/[upper center,

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black ink, autograph] Les Présents”; 1v blank; signed and dated, 3v: “27 janvier 1892/Gabriel Fauré.” In E . La bonne chanson, Op. 61 1. Usual paper; 6 folia; 7 pages of music; 1r as title page: “[center, pencil] Une Sainte en son auréole”; 1v, 2r, 6rv blank; publisher’s mark. In A . 2. Usual paper; 7 folia; 8 pages of music; 1r as title page: “[upper center, black ink] Puisque l’aube grandit/P. Verlaine”; 1v, 2r, 6v–7v blank; publisher’s mark. In G. 3. Usual paper; 5 folia; 5 pages of music; 1r as title page: “[upper center, pencil] 3 La lune blanche”; 1v, 2r, 5rv blank; signed and dated, 4v: “Paris 20 juillet/Gabriel Fauré”; engraver’s marks. In F#. 4. Usual paper; 6 folia; 8 pages of music; 1r as title page: “[upper center, pencil] J’allais par des chemins perfides/4”; 5v–6v blank; publisher’s mark. In f#/F#. 5. Usual paper; 8 folia; 12 pages of music; 1r as title page: “[upper center, pencil] N° 5/[ink] J’ai presque peur, [pencil] en verité/[ink] P.Verlaine”; 7v–8v blank; signed and dated, 7r: “lundi 4 décembre 1893/Gabriel Fauré”; publisher’s mark. In e/E. 6. Usual paper; 6 folia; 6 pages of music; 1r as title page: “[upper center, ink] Avant que tu ne t’en ailles/[pencil] 6”; 1v, 2r, 5v–6v blank; publisher’s mark. In D . 7. Usual paper; 6 folia; 7 pages of music; 1r as title page: “[upper center, pencil] Done, ce sera par un clair jour d’été”; 5r–6v blank; dated, 4v: “9 aout [sic] 92”; publisher’s mark. In B . 8. Usual paper; 6 folia; 8 pages of music; 1r as title page: “[upper center, pencil] 8 N’est-ce pas”; 5v–6v blank; signed and dated, 5r: “25 mai 1893/Gabriel Fauré”; publisher’s mark. In G. 9. Usual paper; 7 folia; 9 pages of music; 1r as title page: “[upper right, pencil] 9/[upper center, ink] L’hyver [sic] a céssé [sic]; 6r–7v blank; signed and dated, 5v: “Gabriel Fauré/février 1894.” In B . Soir, Op. 83, No. 2 Usual paper; 6 folia; 7 pages of music, including (6r) the revision of the ending (measures 27–37) which became the published version; 1r as title page: “[upper center, pencil, not autograph] Gabriel Fauré/ [autograph] Soir/[lower left, not autograph] 4500/Retenu ferme/ par Mr François Lang”; 1v, 2v, 5v, 6v blank; signed and dated, 5r: “Paris 17 décembre 1894/Gabriel Fauré.” In D .

Primary Sources 79.

113

Orledge, Robert. “The Two Endings of Fauré’s ‘Soir’.” Music and Letters 60(1979):316–22.

The article begins very usefully by setting the piece chronologically and stylistically in Fauré’s output before attempting to explain the revision of the final measures of the song. The author says that the changes create “a closer bond between words and music” but is convincing in that argument only when dealing with details in the rhythm of text setting. Discussion of the harmonic changes is hampered by a analytical method dealing only with foreground events and a writing style which glosses over inconvenient details. Piano works Pièces brèves, Op. 84, Nos. 4, 8 1. Usual paper; 4 folia; 4 pages of music; 1r as title page: “[upper center, black ink, autograph] petites pièces pour piano/N° 4”; 2r as inner title page: “[upper right center, pencil, autograph] petites pièces pour piano/ N° 4”; 1v, 4v blank; signed and dated, 4r: “27 août 1902/Gabriel Fauré”; engraver’s marks. 2. Usual paper; 6 folia; 7 pages of music; 1r as title page: “[upper center, ink, autograph] pieces pour piano/N° 8”; 2r as inner title page: “[center, black ink, autograph] Pièces pour piano/N° 8”; 1v, 6v blank; 6r blank except for miscopying of first measure; signed and dated, 6r: “4 septembre 1902/Gabriel Fauré”; engraver’s marks. GERMANY Berlin

Staatsbibliothek zu Berlin— Preussischer Kulturbesitz60

M 1913.568 La fée aux chansons, Op. 27, No. 2 Usual paper (LE) cut to 27×34 cm, 20 staves; 2 bifolia, sewn into a library folder; 5 pages of music; 1r as title page: [upper center] large erasure (paper perforated) which was probably the dedication to Henriette Fuchs [see item 80]/“[black ink, autograph] Souvenir affectueux d’un prise de rhum/[center, pencil, not autograph] La Fée aux chansons/poésie d’Armand Silvestre/[lower right] Villerville I6 [‘6’ written over ‘5’] Septembre 1882”; 4rv blank; title page bears the stamps of the publisher and the library; manuscript has been folded from side to side. In E.

114 80.

Gabriel Fauré: A Guide to Research Phillips, Edward R. “Two Fauré Sources in the Deutsche Staatsbibliothek, East Berlin.” Canadian University Music Review 11, no. 1(1991):89–100.

The article begins with a detailed description of the manuscript of Op. 27, No. 2 and a discussion of as much of its provenance as can be determined; an analytical sketch of the song provides the background for an examination of two sets of emendations in the manuscript and to hypotheses regarding the relationship between these alterations and the intensification or reflection of specific structural events in the piece. The second source to which the title refers is an obituary tribute to Fauré by Nadia Boulanger (autograph) which was published in Comœdia on 8 November 1924.61 GREAT BRITAIN London

O.W. Neighbour Collection

Second Violin Sonata, Op. 108, sketch of third movement Usual paper (LEB), 20 staves; 3 folia and 1 bifolium, written on recto only; 1r–4r, measures 1–50; 5r, measures 84–87; inscription, upper left: “Offert à Jacques Thibaut/ce fragment d’un manuscrit/de travail—de ‘sa’ sonate—/En affectueuse admiration/Mme Fauré-Fremiet/[in a different hand—Thibaut?] 29 May 1946”; notation, upper right, unknown hand: “Ébauche manuscrite de la/2ème sonate de Gabriel Fauré.” SWEDEN Stockholm

Stiftelsen Musikulturens Främjande, Nydahl Collection

String Quartet, Op. 121, reduction for two pianos, second movement Unknown paper, 18 staves; 5 bifolia gathered, sewn; 12 pages of music; 1r as title: “[upper center, pencil?, not autograph] 2me morceau du quatuor à cordes de Gabriel Fauré/réduction manuscrite de l’auteur/ [right center, black? ink, autograph] quatre mains/[center] II; 1v: inverted and crossed out, beginning of page 2 of music; 2r as interior title: “[upper center, black? ink, autograph] II”; 8v–10v blank.

Primary Sources

115

SWITZERLAND Cologny

Bibliotheca Bodmeriana

Pleurs d’or, Op. 72 Usual paper (LE), 20 staves; 3 bifolia gathered; 7 pages of music; 1r as title: “[upper center, black? ink, autograph] Pleurs d’or/duo/[flush right] poésie d’Albert Samain/Gabriel Fauré”; 5r–6v blank; signed and dated, 4v: “Paris 21 avril 1896/Gabriel Fauré.” In E . UNITED STATES Austin

Harry Ransom Humanities Research Center of the University of Texas (AUS)

All manuscripts are part of the Carlton Lake Collection of nineteenth and twentieth-century French materials. 81.

Lake, Carlton. Confessions of a Literary Archaeologist. New York: New Directions Books, 1990. ix, 190pp. ISBN 0–8112– 1130–4

Lake discusses briefly (144–49) the acquisition of manuscripts once belonging to the Durand family; this collection includes the largest part of the HRC’s holdings in Fauré as well as works by Ravel, Dukas, Roussel, and Debussy. 82.

Orledge, Robert. “From a Vision of Death to the Genesis of Pénélope: The Gabriel Fauré Manuscript Collection.” In Perspectives on Music: Essays on Collections at the Humanities Research Center, edited by Dave Oliphant and Thomas Zigal, 51–67. Austin: Humanities Research Center, The University of Texas at Austin, 1985. ISBN 0–87959–102–1

This essay was written when the library owned only three Fauré manuscripts, those of the tenth song of La Chanson d’Eve Op. 95 and the early Fugue and Kyrie; the author discusses the music more than the primary sources, an approach which is particularly worthwhile (if less exploited) in the case of the two early works which are unpublished. The treatment of the seventy-one letters in the collection, the majority of which Fauré wrote to Gabriel Fauré and Émile Vuillermoz, is detailed and useful. In this article, the author also recants his earlier support

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(based on a perception of thematic similarity) for the ascription to Fauré of two short songs in the collection (since identified by J.-M.Nectoux as being by the Greek composer, Emilio Riadis, a pupil of Ravel). Songs and Duets Poème d’un jour, Op. 21 Manuscript proper: usual paper (LE), 18 staves; 4 bifolia; 14 pages of music paginated throughout beginning with 1v; 1r as title page: “[top, black ink faded, autograph] à Madame la Comtesse M [initial crossed out] de Gauville/Poème d’un jour/Trois mélodies/poésie de Charles Grandmougin/musique de Gabriel Fauré/ op. 17 [crossed out, ink]”; 8v blank except for a few pencil marks; movements of cycle begin pp. 1 (1v), 6 (4r), 11 (6v); no. 1 in D , no. 2 in f#, no. 3 in G ; in notes on pp. 1, 6, and 11, Fauré specifies keys for mezzo-soprano/baritone edition: B, e, and E. Folio laid in, not autograph: paper unidentified (LE?), 27×35 cm, 15 staves unequally spaced in groups of three for solo and piano accompaniment; recto, mm 11–23 of no. 3 (“Adieu”), section in f# recopied to avoid G signature; verso blank. La chanson d’Eve, Op. 95, No. 10 Cover bifolium: usual paper (LEB), 18 staves; 1r as title page: “[center, black ink, autograph] Chanson d’Eve N° 10/Charles Van Lerberghe—Gabriel Fauré/Op. 95/O mort poussière d’étoiles/1 Paradis/2 Prima verba/3 Roses ardentes/4 Comme Dieu rayonne/5 L’aube blanche/6 Eau vivante/7 Veilles-tu, ma senteur du soleil/8 Dans un parfum de roses blanches/9 Crépescule [sic]/10 O mort, poussière d’étoiles”; 1v, 2rv blank. Manuscript proper: usual paper (LEB), 20 staves; 3 bifolia; 5 pages of music; verso of 1–5 and 6rv blank; engraver’s marks. In D . Le jardin clos Op. 106 1. Usual paper (LEB), 20 staves; 3 bifolia; 3 pages of music; 1r as title page: “[center, black ink, autograph] Le Jardin clos/poésies de Van Lerberghe/musique de Gabriel Fauré/op./I Exaucement/II Quand tu plonges tes yeux dans mes yeux…/III La Messagère/IV Je me poserai sur ton coeur…/V Dans la Nymphée/VI Dans la pénombre/VII Il m’est cher, Amour…/VIII Inscription sur le sable”; 2r as interior title page:

Primary Sources

117

“[upper center, black ink, autograph] I/Exaucement”; 1v, 4r–6v blank; outer bifolium worn; engraver’s and publisher’s marks. In C. 2. Usual paper (LEB), 20 staves; 1 bifolium; 3 pages of music; 1r as title page: “[upper center, black ink, autograph] II/Quand tu plonges tes yeux dans mes yeuxà…”; engraver’s marks. In F. 3. Usual paper (LEB), 22 staves; 2 bifolia; 6 pages of music; 1r as title page: “[upper center, black ink, autograph] III/La Messagère”; 4v blank; engraver’s marks. In G. 4. Usual paper (LEB), 20 staves; 2 bifolia, the second 35.5 cm long; 4 pages of music, 3r–4v blank; engraver’s marks. In E . 5. Usual paper (LEB), 20 staves; 2 bifolia; 4 pages of music; 1r as title page: “[upper center, black ink, autograph] V/Dans la Nymphée”; 3v–4v blank; engraver’s marks. In D . 6. Usual paper (LEB), 16, 22 staves; 2 bifolia; 3 pages of music; 1r as title page: “[upper center, black ink, autograph] VI/Dans la pénombre”; 2r as interior title page: “[upper center, black ink, autograph] VI/Dans la Penombre [s/ic]”; 1v, 4rv blank; engraver’s marks. In E. 7. Usual paper (LEB), 20 staves; 2 bifolia; 5 pages of music; 1r as title page: “[upper center, black ink, autograph] VII/Il m’est cher, Amour, le bandeau…”; 1v blank; 2r to 2v top, version of mm. 34–50, crossed out; engraver’s marks. In F. 8. Usual paper (LEB), 20 staves; 1 bifolium; 2 pages of music; 1r as title page: “[upper center, black ink, autograph] VIII [numeral over erasure]/Inscriptions sur le sable”; 2v blank; engraver’s marks. In e. C’est la paix! Op. 114 Cover bifolium: paper unidentified, 27×35 cm, 16 staves; 1r as title page: “[center, black ink, autograph] C’est la paix!/[flush left] poésie de Melle Georgette Debladis [flush right] musique de/Gabriel Fauré”; 1v–2v blank; cover and manuscript have been folded top to bottom and side to side in thirds; engraver’s and publisher’s marks. Manuscript proper: paper unidentified, 27×35 cm, 20 staves; 1 bifolium; 3 pages of music; 1r as title page: “[center, black ink, autograph] C’est la paix!”; signed and dated, 2v: “Monte Carlo/8 Xbre [Decembre] 1919/Gabriel Fauré”; engraver’s marks. In a/A.

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Sacred works Tantum ergo, WwO, version with organ accompaniment Usual paper (LEB), 22 staves; 2 bifolia; 4 pages of music; 1r as title page: “[upper center, black ink, autograph] Tantum ergo sancta mater/Gabriel Fauré”; 3v–4v blank; engraver’s and publisher’s marks. In G . Tu es Petrus, WwO This manuscript is in two hands of which the later (emendations) is clearly Fauré; the earlier hand is less clearly so, but certain elements of the orthography (for example, the quarter rests) suggest that it, too, is Fauré’s and is, perhaps, simply an early “grand hand” for a fair copy. The last line of the title page indicates that Fauré’s changes to the manuscript date from after his appointment as maître de chapelle of the Madeleine (April 1877); they were almost certainly made for the first publication of the piece in 1884. Usual paper (LE), 16 staves; 2 bifolia, sewn; 4 pages of music; 1r as title page: “[upper center, black ink, early hand] Partition/Tu es Petrus/ [later hand] Solo de Baryton et chœur/avec accompagnement d’orgue et de Contrebasse (ad lib.) [last five words crossed out, ink]/[early hand] par/Gabriel Fauré/[later hand] maître de chapelle de la Madeleine”; 3v– 4v blank; manuscript has been folded top to bottom and side to side in thirds; engraver’s and publisher’s marks; double bass part crossed out throughout. In C. Piano works Eleventh Barcarolle, Op. 105 Manuscript fragment: usual paper (appears to be LEB), 20 staves; 1 folio; 1 page of music (12 measures); recto: “[top, ink, autograph] Onzième Barcarolle/[flush left] Allegretto moderato [flush right] Gabriel Fauré”; no erasures but bottom 3 blank staves crossed out [pencil]; verso blank. Thirteenth Barcarolle, Op. 116 Paper unidentified, 27×35.2 cm, 20 staves; 2 bifolia; 6 pages of music; 1r as title page: “[top center, ink, autograph] X/a Madame Magda A.N.Gumaelius/[center] 13ème Barcarolle/op, [red pencil, not autograph]

Primary Sources

119

116 [ink, autograph] ? [‘?’ crossed out, pencil]/Gabriel Fauré”; 4v blank; signed and dated, 4r: “Gabriel Fauré/Nice Février 1921”; engraver’s and publisher’s marks. Stage works Masques et bergamasques, Op. 112, orchestral suite Manuscript in separate folia, bound; fourth movement in less finished state (more erasures and passages crossed out) than other movements. Emendations in pencil, performance directions in red pencil, and wear at lower right corners of recto pages indicate that the manuscript was used as a conducting score. Prefatory leaf: usual paper (LEB), 16 staves; recto: “[upper center, pencil, not autograph] Masques et Bergamasques/[black ink, autograph] Flûte—dans la coulisse/[pencil, not autograph] Et n’est ce pas d’ailleurs pour qu’on les voie/Qu’ils sont si bien, qu’ils sont si peu vêtus de soie!/ [bottom, black ink, autograph] Cher ami, Je n’ai pas le dialogue sous les yeux. J’espère que les petites phrases conviendront, d’autant que le mouvement peut être acceléré [sic] ou rallenti sans inconvenient/ Gabriel Fauré”; also recto: [upper left, black ink, crossed out in black ink, both autograph] a short, rising line of music in F/[center, black ink, autograph with pencil emendations, not autograph] three short passages of music based on themes from the first movement; verso blank except for publisher’s stamp. Ouverture: usual paper (LEB), 20 staves; 18 folia; 29 pages of music; 1r as title page: “[upper center, black ink, autograph] Masques et Bergamasques/[blue pencil, not autograph] I/[black ink, autograph] Ouverture/Gabriel Fauré; 1v–3r and 18rv blank; engraver’s and publisher’s marks. Menuet: usual paper (LEB), 20 staves; 8 folia; 13 pages of music; 1r as title page: “[upper center, black ink, autograph] Masques et Bergamasques/[blue pencil, not autograph] 2/[black ink, autograph] Menuet/Gabriel Fauré/[pencil, crossed out in blue pencil, not autograph] 10 Est ce que nous serions punis?/20 Moi, je leur soutiendrai que nous cherchions des nids”; 8rv blank; engraver’s and publisher’s marks. Gavotte: usual paper (LEB), 18 staves (unusual oval embossing), 20 staves (unusual oval embossing), 20 staves (normal rectangular embossing); 10, 10, and 7 folia; 26 pages of music, instrumention, clefs, and signatures by a copyist; 1r as title page: “[center, black ink, autograph] Masques et Bergamasques/ Gavotte/Gabriel Fauré/[lower

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right, pencil, crossed out in blue pencil, not autograph] Nous tombons si Vous remuez/Aimez Vous, Mais, restez muets”; all versi blank; engraver’s and publisher’s marks including 1r [upper right, black ink] instructions for the copyist. Pastoral: usual paper (LEB), 16 staves; 11 folia; 19 pages of music; 1r as title page: “[upper center, pencil, crossed out in blue pencil, not autograph] 10 Le public que nous critique 20 J’ai Rêve d’être embrassé, ici/[black ink, autograph] Masques et Bergamasques/orchestre seul/ [blue pencil, not autograph] 4/Pastoral; 1v blank except for indication of instrumentation, 2r blank; engraver’s and publisher’s marks. Transcriptions Saint-Saëns, Camille. Septuor, Op. 65 Transcription by Fauré for piano, four-hands; the two parts in score throughout. Usual paper (LE), 22 staves; 1 bifolium containing 4 bifolia gathered and 3 separate bifolia; 28 pages of music, paginated throughout beginning with first page of music (2v); 1r as title page: “[on smaller piece of music paper glued with staves vertical, black ink, autograph] Septuor/pour piano trompette/et cordes/C S t Saëns”/[lower left] caricature of tall bird in dress [Saint-Saëns] with train carried by monkey [Fauré]; 8r: caricature of dragon crossed out; 1v, 2r, 16v blank; movements begin pp. 1(2v), 13(8v), 16(10r). Saint-Saëns, Camille. Suite algérienne, Op. 60 Transcription by Fauré for piano, four-hands; the two parts in score throughout. 1. Prélude: En vue d’Alger: usual paper (LE), 20 staves; 3 separate bifolia; 11 pages of music; 1r as title page: “[upper center, black ink faded, autograph] Suite Algérienne/St Saëns/[pencil, not autograph] op. 60/[black ink faded, autograph] (à 4 mains)/G.Fauré.” 2. Rhapsodie mauresque: usual paper (LE), 20 staves (outer bifolium) and 18 staves; 4 bifolia gathered with 1 folio laid in center; 16 pages of music; 9r blank except for system crossed out, 9v blank. 3. Réverie du Soir: usual paper (LE), 20 staves; 2 bifolia gathered; 5 pages of music; 3v–4v blank. 4. Marche militaire française: usual paper (LE), 20 staves; 3 bifolia gathered; 10 pages of music; 6r blank except for emendations to 5v, 6v blank.

Primary Sources

121

Miscellaneous Fugue à 3 parties and Kyrie WwO The manuscript of the fugue is a fair copy in Fauré’s hand. As it is in rough draft with many passages crossed out, the incomplete Kyrie (vocal parts with instrumental cues) must be in the hand of its composer which resembles that of Fauré in certain details; if the piece is by Fauré, it is undoubtedly a student work. Usual paper (L), 20 staves; 1 bifolium. Fugue: 1r–2r; 1r: “[above score, black ink, autograph] Fugue à 3 parties/Gabriel Fauré.” Kyrie: 2v, inverted on the page. Non-autograph manuscripts Sixth Impromptu, Op. 86bis Manuscript may be in the hand of the arranger, Alfred Cortot. Usual paper (LEB), 16 and 18 staves; 12 and 2 folia; 14 pages of music; versi blank; signature and title in Fauré’s hand (1r). Chant funéraire, WwO Manuscript, including title page, in the hand of the arranger, Guillaume Balay. 1. Score: paper by Millereau, 35×27 cm, 24 staves ruled parallel to the long edge; 3 bifolia; 9 pages of music; 1r as title page: “[upper right, black ink] Gabriel Fauré/[center] Chant funéraire/Composé pour le Centenaire de la mort de Napoléon l er /[right] Orchestration de Guillaume Balay/Chef de la musique de la Garde Républicaine/ [bottom] Partition harmonie/[different ink] et fanfare”; 6r blank except for indication of instrumentation, 6v blank; signed and dated, 5v: “Paris le 31 mars 1921/G Balay”; engraver’s and publisher’s marks. 2. Two parts for “saxophone soprano si (fanfare)” and “saxophone sopranino mi (fanfare)”: paper unidentified, 17.7×27 cm, 14 staves; 1 folio, each part; written on recto only. 3. Short score: paper unidentified, 17.5×27 cm, 14 staves; 2 bifolia not gathered but stapled; 7 pages of music; 4v blank.

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Baltimore

Piatigorsky Collection

A microfilm of this collection is available at the Library of Congress. Tenth Barcarolle, Op. 104, No. 2 Usual paper (LEB), 20 staves; 4 bifolia gathered; 6 pages of music; 1r as title page: “[upper right, blue ink, autograph] à Madame Léon Blume/ [center] I0ème Barcarolle/op. /Gabriel Fauré/[black ink] à Monsieur René Brancour/affectioneux souvenir/Gabriel Fauré/octobre 1913”62; 8r and all versi blank except 2v on which is an emendation in pencil initialled “Aflfred] C[ortot]”; manuscript in same blue ink as the title page; engraver’s and publisher’s marks including a “?” in blue pencil in the blank after “op.” on 1r. Twelfth Nocturne, Op. 107 Usual paper (LEB), 20 staves; 6 bifolia gathered; 10 pages of music; 1r as title page: “[upper right, pencil, autograph] N° I/[upper center] 12e Nocturne/[center right, black ink] Gabriel Fauré/[lower left, pencil, not autograph] (1916)”; 2r as inner title: “[upper center, pencil, not autograph] Nocturne [written over ‘Barcarolle’]/Gabriel Fauré”; 12r and all versi except 2v blank. Boston

Isabella Stewart Gardner Museum

Préludes, Op. 103, No. 4 Usual paper (LEB), 20 and 18 staves; cover bifolium containing 3 bifolia gathered; 5 pages of music; 1r as title page: “[upper right, faded blue ink, autograph] Préludes/[black ink] N° 4/[faded blue ink] Gabriel Fauré/1912”; verso of 1–6 and 7r–8v blank; manuscript in black ink with additions in blue ink and emendations in pencil; manuscript contains smudges from having been closed before ink was dry. Cambridge 83.

Houghton Library, Harvard University (CAh)

Wolff, Barbara M. Music Manuscripts at Harvard: A Catalogue of Music Manuscripts from the 14th to the 20th Centuries in the Houghton Library and the Eda Kuhn Loeb Music Library. Cambridge: Harvard University Library, 1992.

Primary Sources

123

Includes a description of the manuscript of Op. 115 (54). Wolff also indicates that this manuscript “precedes [the] fair copy of 21 May 1921 in the Société nationale de musique, Paris”; this latter source has not been located and is not mentioned elsewhere in the literature, but it is reasonable to suppose it existed since the extant manuscript was in the possession of the Harvard Library by 12 May 1921, nine days before the Paris premiere of the work. 84.

Wright, Craig M. “Rare Music Manuscripts at Harvard.” Current Musicology 10(1970):25–33.

A list, with description of some items, of music manuscripts in the Houghton and Loeb Libraries at Harvard; the manuscript for Op. 115 is included without discussion in a subordinate list of twentieth-century sources. fMS Mus 36

Second Piano Quintet, Op. 115

Manuscript bound in maroon buckram, with black spine lettered in gold: “FAURÉ—2ME QUINTETTE—AUTHOR’S MS”; bookplate inside front cover: “From several donors/through the/Division of Music”; condition of manuscript indicates it was used for performance. 1. First movement: usual paper, 18 staves; 26 folia; 43 pages of music: 1r as title page: “[upper center, black ink, autograph] 2ème Quintette/I/[center right, pencil, not autograph] op. 115/[blue ink, autograph] Gabriel Fauré/Mars 1921”; 1v: “[upper left pencil, not autograph] fMS Mus 36/[crossed out] Mus 676.2.345 F”/[upper center, black ink] stamp of Harvard College Library with date, May 12, 1921/ “[pencil, not autograph] From several donors/through the/Division of Music”; page between 26 and 27 (15v) crossed out; 2r, 24v–26v blank; engraver’s and publisher’s marks including publisher’s stamp, 1r. 2. Second movement: same paper; 16 folia; 27 pages of music; 1r as title page: “[upper center, black ink, autograph] 2e Quintette/II”; page between 16 and 17 (10v) crossed out; 15v–16v blank; engraver’s and publisher’s marks including publisher’s stamp, 1r. 3. Third movement: same paper; 12 folia; 20 pages of music; 1r as title page: “[upper center, black ink, autograph] 2ème Quintette/III”; 11v–12v blank; engraver’s and publisher’s marks including publisher’s stamp, 1r. 4. Fourth movement: same paper, 21 folia; 38 pages of music (numbered to 37 but including page 24bis); 1r as title page: “[upper

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center, black ink, autograph] 2ème Quintette/IV Gabriel Fauré”; page 14 (8r) crossed out; 20v–21v blank. Chicago MS f 767

Regenstein Library, University of Chicago (Cu) Piano Trio, Op. 120, draft of third movement

Usual paper?, 18 staves; 6 bifolia gathered and sewn; 18 pages of music; 1r: “[upper left, pencil, not autograph] Autograph de Gabriel Fauré/ [upper center] Final du Trio/op 120 (1923)” and library markings; 1v, 2r, and 11v–12v blank except for library markings and 12v: “[lower left, pencil, not autograph] Juin 11”; condition of manuscript and performance markings including fingerings in the piano part indicate that the manuscript was used for performance. 85.

Boneau, Denise. “Genesis of a Trio: The Chicago Manuscript of Fauré’s Opus 120.” Current Musicology 35 (1983): 19–33.

A very uneven article which intends to supply insights into Fauré’s compositional method but which relies on unproven and unprovable assumptions, undefined terms, and circular reasoning; the challenge to McKay’s dating of the movement (item 86) is similarly flawed. 86.

McKay, James. “Le Trio op. 120 de Fauré: Une esquisse inconnue du troisième mouvement.” Études fauréennes 19 (1982): 8–17.

The author begins with a very detailed description of the manuscript and ends with an equally detailed comparison of the source to the published version of the piece drawing conclusions about Fauré’s compositional method from this evidence and his own thematic analysis. With the help of letters, concert programs, and interviews, he also attempts to establish the position of this manuscript in the chronology of the composition and first performances of the Trio; attributes the fingerings in the manuscript to Marguerite Hasselmans. 87.

Samuel, Harold. “Notes on Notes” Notes 27, no. 1 (September 1970): 24–28.

A very brief notice of the acquisition of the manuscript by the University of Chicago is included in the section, “Recent Acquisitions.”

Primary Sources New Haven

125 Beinecke Rare Book and Manuscript Library, Yale University (NH)

Materials with the indication “Koch” are part of the Frederick R. Koch Foundation Collection, formerly on deposit at the Pierpont Morgan Library, New York. Songs and Duets Ma21.F27

Accompagnement, Op. 85, No. 3

Appears to be usual paper, 22 staves; 2 bifolia gathered, the outer separated; 8 pages of music; signed, 4v: “Gabriel Fauré”; manuscript worn and stained and has been folded top to bottom; engraver’s and publisher’s marks. In G . Koch

Mai, Op. 1, No. 2

Usual paper (L), 22 staves; 1 folio; 2 pages of music; manuscript worn and stained. In A . Koch

Rêve d’amour, Op. 5, No. 2

Paper by Lard, 23×31 cm, 20 staves; 1 bifolium; 2 pages of music; 1r as title page: “[upper center, black ink, autograph] poësie de Victor Hugo/ mise en musique par/Gabriel Fauré”; 2v blank; signed and dated, 2r: “5 mai 1864/Gabriel Fauré”; manuscript has been folded side to side; ink stains 1r, 2v. In F. Koch

Puisque j’ ai mis ma lèvre, WwO

Usual paper (L), 20 staves; 1 bifolium; 3 pages of music; 1r as title page: [upper left, black ink, autograph] several measures of melody, unidentified/ “[upper center, autograph] Poésie de Victor Hugo/[center right] mise en musique par Gabriel Fauré”; signed and dated, 2v: “Gabriel Bébé Py-Fauré/26 octobre 1863”; manuscript has been folded side to side. In B . Piano works Koch

Canson diu lé Jardi, early version of Dolly, Op.56, No. 1, Berceuse

Not usual paper, 28×36.5 cm, 18 staves; 2 bifolia, sewn and taped; 4 pages of music; 1r as title page: “[upper center, black ink, autograph]

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Gabriel Fauré: A Guide to Research

Canson diu lé Jardi/Gabriel Fauré”/ornate initial G; 3v–4v blank; performer’s marks including fingerings in ink (2r) and in pencil (3r), neither autograph; the two parts on facing pages throughout. Koch

Mazurka, WwO

Usual paper (L), 20 staves; 1 bifolium; 2 pages of music; 1r as title page: “[upper center, black ink, autograph] Mazurke [sic]/[center right] Gabriel Fauré”; 1v, inner title: “[upper center, black ink, all autograph but all but the last word appear to be a later addition] Morceau du piano en/forme de Mazurka”; 2r caricatures and tempo indications in pencil, autograph; 2v blank; engraver’s marks. In B?. Koch

A bound volume of twelve folia containing: Fifth Nocturne, Op. 37 Berceuse for violin and piano, Op. 16, partial draft and violin part Andante for violin and piano, Op. 75, violin part

1. 1r–8v: Fifth Nocturne; usual paper (LE), 18 staves; 10 pages of music; 1r as title page: “[upper center, black ink, autograph] à Madame Marie P.Christofle/5ème Nocturne/Gabriel Fauré/[center right] Op. 38 [‘38’ crossed out and corrected to ‘37’]”; 2v: measure tipped on; 4v crossed out; 7r–8v blank; signed and dated, 6v: “Louveciennes/août 1884/Gabriel Fauré”; engraver’s marks including an X in pencil across title page. 2. 9r–11r: Berceuse; usual paper (LE), 18 staves; 9r: “[upper center, black ink, autograph] Berceuse/Gabriel Fauré” and 27 measures of music; 9v: 32 measures of music; 10r: sketches; 10v blank; 11r: 93 measures of violin part in two sections; folia 9–10 have been folded side to side; folio 11 in poor condition. 3. 11v–12v: Andante; folio 12, usual paper (LE), 18 staves; 2 pages of music; 11 v: “[upper center, black ink, autograph] Andante pour violon et piano/Gabriel Fauré”; 12r: sections glued on; 12v: sketches in pencil. Koch

Sonata, WwO

Paper by Lard, 23×30.5 cm, 20 staves; 3 bifolia, sewn in black thread; 10 pages of music; 1r as title page: “[upper center, black ink, autograph] Sonate/pour le piano/Allegro—Menuet—Final/Gabriel Fauré”; 1v blank; 2r: “[upper center, black ink, autograph] Dédiée à ma nièce Marguerite”; movements begin pp. 1 (2r), 4 (3v), 6 (4v); signed and

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dated, 6v: “6 avril 1863/Gabriel Fauré”; manuscript has been folded side to side. In F. Chamber works See above, Piano Works. Miscellaneous Koch

Les matelots, Op. 2, No. 2

An album leaf with the first 2 2/3 measures of the song as a musical quotation; signed; includes ink drawing of Fauré by Robert Kastor.63 Koch

Arrangement of Charles Gounod, Waltz from Faust

Paper by Lard, 23×30.5 cm, 18 staves; 5 bifolia gathered; 16 pages of music; 1r as title page: “[center, black ink, autograph] Valse de Faust/ dérangée/avec un rare bonheur/à l’usage/d’un piano, d’un violon/ et/ d’une flute/par il maëstro/Joseph Barbanchu”; 1v, 10rv blank; manuscript has been folded side to side. New York

Eugene Istomin Collection

A microfilm of this collection is available at the Pierpont Morgan Library. Sicilienne, Op. 78 Paper unidentified, 27×35 cm, 20 staves; 3 bifolia gathered; 7 pages of music; 1r as title page: “[upper center, black ink, autograph] To Mons. W.H.Squire/Sicilienne/pour Violoncelle et piano”; 5r–6v blank; signed and dated, 4v: “Paris/16 avril 1898/Gabriel Fauré.” New York JOG 72– 116

New York Public Library, Lincoln Center (NYp) First Violoncello Sonata, Op. 109, third movement

Usual paper (LEB); 1 bifolium (16 staves) containing 5 bifolia (18 staves) gathered, single folio (16 staves) taped on as cover; 1r at title page: “[upper center, black ink, autograph] Gabriel Fauré/Sonate pour piano/et violoncelle”; 20 pages of music; 1v–3r and 13v blank; rehearsal letters added in pencil (autograph?) and soiled lower corners of the manuscript indicate that it was used for performance.

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New York 88.

Pierpont Morgan Library (NYpm)

Turner, J.Rigbie. “Nineteenth-Century Autograph Music Manuscripts in The Pierpont Morgan Library: A Check List.” 19th Century Music 4 (Summer, Fall 1980): 49–69, 157–83.

A bibliography of music manuscripts in the Pierpont Morgan Library dating from 1791 to 1911 introduced by an essay about the library’s music collections and their history; each entry gives a brief description of the source and its provenance as well as its catalog number in Otto Albrecht’s A Census of Autograph Music Manuscripts of European Composers in American Libraries (Philadelphia: University of Pennsylvania Press, 1953); the list of Fauré manuscripts is on page 67. The material in the Frederick R.Koch Foundation Collection, formerly on deposit at the Pierpont Morgan Library, is now at the Beinecke Rare Book and Manuscript Library, Yale University, New Haven (see above). Songs and Duets Lehman

Larmes, Op. 51, No. 1

Usual paper (LE), 22 staves; 2 bifolia, sewn; 5 pages of music; 1r as title page: “[upper center, black ink, autograph] à Mme la Princess Wynaretta de Scey-Montbéliard/[center] Larmes/poésie de Jean Richepin/ Gabriel Fauré/Op. 51 N° I”; 4rv blank; title page and 3v bear the library stamp of Alfred Cortot; engraver’s marks including large X in pencil across title page and indications of key for various vocal ranges. In c. Lehman

Au cimetière, Op. 51, No. 2

Usual paper (LE), 22 staves; 2 bifolia, once sewn; 5 pages of music; 1r as title page: “[upper center, ink, autograph] à Madame Maurice Sulzbacn/Au cimetière/poésie de Jean Richepin/Gabriel Fauré/Op. 51 N° 2”; title page and 3v bear the library stamp of Alfred Cortot; 4rv blank; engravers’ marks including large X’s in pencil across title page and indications of key for various vocal ranges. In e. Lehman

Spleen, Op. 51, No. 3

Usual paper (LE), 14 staves; 2 bifolia, sewn; 6 pages of music in blue ink; 1r as title page: “[upper center, pencil, not autograph] A Madame Henry Cochin/[black ink, autograph] Spleen/[blue ink partly

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overwritten in black] Poésie [black ink] de Paul Verlaine/Op. 51 N° 3/ Gabriel Fauré”; title page and 4r bear the library stamp of Alfred Cortot; 4v blank; engraver’s marks including large X in pencil across title page and indications of key for various vocal ranges. In d. Piano works Lehman

Third Valse-Caprice, Op. 59

Usual paper (LE), 20 staves; 5 bifolia gathered with folio laid in before last folio; 17 pages of music; 1r as title page: “[upper right, black ink, autograph] à Mme Philippe Dieterlen/[upper center] 3e Valse Caprice”; 1v, 2r, 11rv blank; title page and 10v bear library stamp of Alfred Cortot; 1v: Cortot bookplate; 5r, 6v: autograph revisions pinned on; dated, 10v: “Prunay aout [sic] 1893”; engraver’s marks. Lehman

Fourth Valse-Caprice, Op. 62

Usual paper (LE), 20 staves; 5 bifolia gathered; 17 pages of music; 1r as title page: “[upper right, black ink, autograph] à Madame Max Lyon/ [upper center, black ink over pencil] 4e Valse-Caprice/[right center, black ink] op. 62/Gabriel Fauré; 10rv blank; title page bears library stamp of Alfred Cortot and publisher’s stamp [erased]; passim dynamics and small emendations in pencil, autograph; 7r: autograph revision pinned on; 9v: Cortot stamp; 10v: Cortot bookplate. Lehman

Sixth Nocturne, Op. 63

Usual paper (LE), 20 staves; 6 bifolia gathered; 11 pages of music; 1r as title page: “[upper center, black ink, autograph] à Monsieur Eugène d’Eichthal/6e Nocturne/Gabriel Fauré”; 1v, 2r, 8r–12v blank; title page bears library stamp of Alfred Cortot and publisher’s stamp; 1v: Cortot bookplate; 2r: publisher’s stamp; 7v: Cortot stamp; dated, 7v: “BasPrunay/3 aout [sic] 1894”; ink has bled through the paper in certain areas of the manuscript; performance markings in a different ink, autograph; opening tempo indication is Andante, not Adagio as published; engraver’s marks. Lehman

Fifth Barcarolle, Op. 66

Usual paper (LE), 20 staves; 3 bifolia gathered with 2 folia laid in center; 11 pages of music; 1r as title page: “[upper center, black ink, autograph] à Mme la Baronne V.d’Indy/56ème Barcarolle/Op. 66”; 7r–8v blank; 6v:

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library stamp of Alfred Cortot; 8v: Cortot stamp and bookplate; dated, 6v: “Bas-Prunay/18 Septembre 1894”; ink has bled through the paper in many places in the manuscript; 1r publisher’s stamp and Cortot stamp. Lehman

Préludes, Op. 103, Nos. 4–864

4. Usual paper (LEB), 20 staves; 3 bifolia gathered; 5 pages of music; 1r as title page: “[upper center, black ink, autograph] Préludes/N° 4”; verso of 1–6 blank; title page bears the library stamp of Alfred Cortot; manuscript has been folded top to bottom; engraver’s marks. 5. Usual paper (LEB), 20 staves; 4 bifolia; 6 pages of music; 1r as title page: “[upper center, black ink, autograph] Préludes/ N° 5 [‘5’ written over ‘6’]”; verso of 1–4, 6v, and 7v–8v blank; 5v crossed out, was to have been p. 5; title page bears the library stamp of Alfred Cortot; manuscript has been folded top to bottom; engraver’s marks. 6. Usual paper (LEB), 20 staves; 3 bifolia; 3 pages of music; 1r as title page: “[upper center, black ink, autograph] Préludes/N° 5 [crossed out] 6”; verso of 1–4, 5r–6v blank; title page bears the library stamp of Alfred Cortot; manuscript appears to have been folded top to bottom; engraver’s marks. 7. Usual paper (LEB), 18 and 20 staves; 1 bifolium followed by 3 bifolia gathered; 5 pages of music; 1r as title page: “[upper center, black ink, autograph] Préludes/N° 7”; verso of 1–6 and 7r–8v blank; title page bears the library stamp of Alfred Cortot; manuscript has been folded top to bottom; engraver’s marks. 8. Usual paper (LEB), 20 staves; 4 bifolia; 5 pages of music; 1r as title page: “[upper center, black ink, autograph] Prélude/N° 8”; verso of 1–6 and 7r–8v blank except for one measure crossed out, 4v; title page bears the library stamp of Alfred Cortot; manuscript has been folded top to bottom; engraver’s marks. Lehman

Eleventh Nocturne, Op. 104, No. 1

Usual paper (LEB), 20 staves; 1 bifolium containing a single folio and a sewn unit of 1 bifolium containing a single folio and 1 bifolium; 6 pages of music; 1r as title page: “[center, pencil, autograph] 11e Nocturne/ op.”; title page bears the library stamp of Alfred Cortot and publisher’s stamp; verso of 1–6 and 7v–8v blank; manuscript in several different inks with pencil emendations, 7r; 7r: Cortot stamp; engraver’s and publisher’s marks including, 1r: “[upper center, pencil] Dédicace?/(à la mémoire de Noèmi Lalo).”

Primary Sources

131

Orchestral works Cary 135

Pavane, Op. 50

Manuscript bound as book with decorative cover by HenriFrançoisVictor [Marius] Michel, Paris; page edges gilded; title page in calligraphy: “Pavane/avec chœur/dédiée à Madame/la Vicomtesse Greffulhe/née Caraman-Chimay/par/Gabriel Fauré/1890” with bookplate-like stamp in lower right corner “Diane de V il Fermo.” Manuscript proper: usual paper (LE), 22 staves; 18 folia; 27 pages of music (full score with chorus); 2r as interior title page: “[upper center, black ink, autograph] Madame la Vicomtesse Greffulhe/Pavane avec chœur/ Gabriel Fauré”; 1rv, 2v, 3r, 17r–18v blank; manuscript obviously intended as a presentation copy but has apparently been used for performance. Lehman

Fantaisie, Op. 111, version for two pianos

Usual paper (LEB), 20 staves; 24 folia; 42 pages of music; 1r as title page: “[upper right center, blue ink, not autograph] M.Hasselmans/ [pencil, engraver?] Fantaisie/pour piano et orchestre/G.Fauré” and below, on a half-page cut from the same paper and glued on: “[black ink, autograph] à Alfred Cortot/Fantaisie/pour piano et orchestre/Gabriel Fauré Op. 111/Piano solo”; 22v–24v blank; the two parts written in score with the solo piano below the orchestral reduction throughout; manuscript worn and, given non-autograph indications for pedalling in pencil, may have been used for performance; title page, 1v, and 22r bear the library stamp of Alfred Cortot; engraver’s marks including inner title (1v) and indication throughout that the solo piano is to be placed above the orchestral reduction. Rochester

Sibley Library, Eastman School of Music (R)

ML 96.F265 La bonne chanson, Op. 61, Nos. 3, 7 Op. 61:3, 7 In each manuscript, there is a pencil notation in the left margin of 2r: “1/ 8/31 Legouix 5,000 fr. (Sibley Fund).” 3. Usual paper (LE), 20 staves; 3 bifolia gathered, sewn, and in a library binder; 7 pages of music; 1r blank except for library markings; 5r–6v blank except pencil marking (library? dealer?), 6r. In F. 7. Usual paper (LE), 20 staves; 3 bifolia gathered, sewn, and in a library binder; 7 pages of music; 1r blank except for library markings; 5r–6v blank except pencil marking (library? dealer?), 6r. In A.

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Stanford 311A

Memorial Library, Stanford University (ST) Le parfum impérissable, Op. 76, No. 1

Usual paper, 20 staves; 2 bifolia; 5 pages of music; 1r as title page: “[upper right, black ink, autograph] à Paolo Tosti/[upper center] Le Parfum impérissable/poësie de Leconte de Lisle”; 4rv blank; signed and dated, 3v: “22 Août 1897/Gabriel Fauré.” In e. Washington

The Library of Congress (WCM)

Songs and Duets ML96.F3 Nocturne, Op. 43, No. 2 Case (Music 1234) Usual paper (LE), 20 staves; 2 bifolia; 6 pages of music; 1r as title page: “[upper center, black ink, autograph] Nocturne/poésie de Villiers de l’Isle/Gabriel Fauré”; 4v blank; signed and dated, 4r: “4 février 1892/ Gabriel Fauré”; manuscript in fair condition, edges brittle. In F#. ML96.F3 Prison, Op. 83, No. 1 Case (Music 1236) Usual paper (LE), 20 staves; 6 folia (may have been 3 bifolia); 5 pages of music; 1r as title page: “[upper center, pencil, autograph] Prison/ poésie de Paul Verlaine”; 4r–6v blank; signed and dated, 3v: “4 décembre 1894/Gabriel Fauré.” In e . Moldenhauer Archive

Arpège, Op. 76, No. 2

Usual paper (LE), 20 staves; 2 bifolia; 6 pages of music; 1r blank except for: “[upper left, pencil, not autograph] Arpège/Fauré” and acquisition number, pencil, bottom left; 4v blank except for acquisition number, pencil, bottom right; 1v: “[upper center above music, black ink, autograph] Arpège/[flush left] poèsie d’Albert Samain/[flush right] G. Fauré Op. 76 N° 2”; signed and dated, 4r: “6 Septembre 1897/Gabriel Fauré”; manuscript somewhat soiled. In e/E.

Primary Sources

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Piano works ML31.H43a Pièces brèves, Op. 84, No. 1 No. 64 Case (Music 1235) Usual paper (LEB), 20 staves; 2 bifolia; 3 pages of music; 1r as title page: “[upper right, black ink, autograph] Kœchlin/à Madame Jean Leonard Kœchlin/[upper center] Feuillets d’Album/[pencil, autograph?] 3 [black ink, autograph] pieces pour piano/N° I (en la bémol)/N° 2 (en mi )”; 1v: “[upper center, pencil, autograph] N° 2 [‘2’ written over ‘I’65]”; 3r–4v blank; signed, 2v: “Gabriel Fauré”; manuscript soiled. Non-autograph manuscripts ML96.P65 Prométhée, Op. 82, Act II, Scene I, orchestration by Case Walter Piston for a Fauré festival at Harvard, 27 Novem(Music 1984) ber 1945. Paper by Passantino, 34.6×27 cm, 18 staves; 38 folia within a cover; 37 pages of music; 38r and all versi blank. NOTES 1 Deletions are not indicated in the manuscript descriptions below unless they involve an entire page. 2 The first change occurred before 1859 and the second more than thirty years later. The Didot-Bottin (the Annuaire-almanach du commerce, de l’industrie, de la magistrature et de l’administration [Paris: Firmin-Didot]) for 1891 lists the company as Lard-Esnault (p. 1837), while that of the following year indicates Edmond Bellamy’s purchase of the firm (p. 1876). As the publication deadline for this index was 1 October of the preceding year, the change in the company’s ownership must have taken place between 1 October 1890 and 1 October 1891. 3 Where a determination has been possible, this paper is further identified in the list by an abbreviation—L, LE, or LEB. 4 The manuscript of a version of this piece entitled “Canson diu lé Jardi” exists in the collection of the Beinecke Library, Yale University (see below), but it is not dated. 5 The first page of this manuscript was published in the special obituary issue of Le monde musical (nos. 21–22), November 1924; the manuscript was then in the collection of Laurent Ceillier.

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Other manuscripts exist for this song, but none with the date indicated. Jean-Michel Nectoux has indicated to me that the manuscripts for the first four of these songs were in the collection of the late Louis de Polignac. Robert Orledge (item 106:295) asserts that the manuscript to No. 5 is part of the Robert Owen Lehman collection. 8 A facsimile of the manuscript is in the Bibliothèque Nationale, Département de la musique, Fonds Bibliothèque Nationale, FS 313. 9 Each of the two sections has its own card catalog. Call numbers of the form MS plus five numbers normally refer to the BN section of the collection; other call number forms are not so regular. It is important for certain items in the Fonds Conservatoire that their location in that part of the collection be indicated. Similarly, the designation, “Rés” (for “Réserve”) is an integral part of any call number in which it appears and must not be omitted. 10 From the catalog entry. 11 Item 101:96. 12 Dating after the catalog of the Bibliothèque Nationale. 13 From the catalog entry. 14 Op. 95, No. 7 formerly cataloged as Fonds Conservatoire MS 416; for the manuscript of Op. 95, No. 10, see under the University of Texas, below. 15 Suckling attributes the caricature to Saint-Saëns (item 113:61) as does Harding (item 169:87). 16 From the catalog entry. 17 The Bibliothèque Nationale holds a copy of the published score of this version of the piece which once belonged to Charles Panzéra (Vmg 26316); most of the manuscript annotations seem those of a conductor, but there are pencil markings in the vocal part which may have been made by Panzéra. 18 See also Bibliothèque Nationale Vma 1938a, Nadia Boulanger’s copy of the score of the orchestral version of the Requiem. The score includes her analysis of the piece, a list of performances, and, on the end paper, an inscription from Fauré: “a mon excellente élève Melle Nadia Boulanger/son vieux professeur dévoué/Gabriel Fauré.” 19 Each part marked with the stamp of the Église de la Madeleine; the catalog of the Bibliothèque Nationale dates these parts from 1888–c.1894. In his article, “Music in the Archives of Paris Churches” (19th Century Music 7, no. 2 [Fall 1983]:100–3), Jean-Michel Nectoux recounts the rescue of the orchestral material from the furnace of the Église de la Madeleine by M. Havard de la Montagne. This article is part of a special issue of 19th Century Music on French archives; other articles included are: Élisabeth Bernard, “A Glance at the Archives of Some Parisian Orchestral Societies”; D.Kern Holoman, “Orchestral Material from the Library of the Société des Concerts”; M. Elizabeth C.Bartlet, “Archival Sources for the Opéra-Comique and its 7

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Registres at the Bibliothèque de l’Opéra”; Peter Bloom, “Academic Music: The Archives of the Académie des Beaux-Arts”; and H.Robert Cohen, “The NineteenthCentury French Press and the Music Historian: Archival Sources and Bibliographical Resources.” 20 The Bibliothèque Nationale also holds a facsimile of this manuscript (Fonds Conservatoire FS 70). 21 Although the organ is not specifically indicated, there are clues in the manuscript which suggest it was used: a blank first measure, the vocal solo unaccompanied until the entrance of the strings (which replace the choral parts). 22 Date from the manuscript; Nectoux gives the date as “8 novembre 1904” (items 96:545; 101:551). It is possible that the later date corresponds with another, unknown source, since the indication, “Pour la Messe de mariage de Mlle Greffulhe,” which Nectoux also cites does not appear on any manuscript for this piece listed here. 23 The catalog description has simply, “Copie de deux main différentes….” 24 See also Bibliothèque Nationale Vmg 19433 (7), a copy of the published score of this piece (Hamelle, 1898) with fingerings added in manuscript by Ravel. 25 A partial listing of the Fauré autographs which Cortot owned is given in Bernard Gavoty, Alfred Cortot (Paris: Buchet/Chastel, 1977), p. 287. 26 See manuscript of Op. 84, No. 1, Library of Congress, ML31.H43a No. 64 Case. 27 Durand published a facsimile edition of this manuscript in 1925. 28 Certain details of the physical description of the original manuscript are taken from Sotheby’s auction catalog; see above, in the introduction to this chapter, for its recent provenance. 29 The documentary evidence—the papers used, the changes in tempo indication, and the emendation in the violoncello part to fit the piano version— confirms the assessment stated in the catalog entry that the version with organ is the older. 30 From the catalog entry. 31 The unpaginated smaller folio, recto, shows a different version of 8 measures of 3v plus an additional measure added before rehearsal 6 in the published score; verso is blank. 32 Only the bifolium containing revisions for the violoncello part has a legible blind stamp, but the rest of the paper seems almost certainly to be the same. 33 The original last page of music replaced by 12r as the new bifolium (folia 12 and 13) was placed inside the older one (comprising folia 11 and 14 in the final numbering). 34 Folia are here numbered as if they had not been glued; pages are numbered as they appear in the manuscript.

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35 From the catalog entry: “La nomenclature des instruments et la partie de piano préparées par un copiste.—Quelques connections] autogr[aphes] de Fauré.” 36 Formerly, Fonds Conservatoire MS 2465. 37 From the catalog entry. 38 Note that numbering of this piece within the fifth act differs from MS 17746 (3). 39 Capitalization and use of accents inconsistent in this manuscript. 40 From the catalog entry. 41 This manuscript exists on microfilm with the call number Vm micr 768. 42 In his biography of Fauré (items 96:174/101:160), Nectoux also makes reference to a manuscript of the piece, as adapted by W.H.Hudson for a London performance in 1911, in the collection of the Bibliothèque Royale Albert Ier, Brussels (Mss III, 322). 43 When he prepared his edition of Pelléas et Mélisande (London: Eulenburg, 1981), Orledge did have these sources available to him as indicated by his editorial notes which enumerate all relevant manuscripts in the Bibliothèque Nationale except MS 17789 and MS 17765. 44 A work of doubtful authenticity; see above, Chapter 2. 45 From the catalog entry. 46 The manuscript was included in the 1963 Fauré exhibition in the Bibliothèque Nationale; according to the exhibition catalog by François Lesure (item 1105), the manuscript was then owned by the Robert Owen Lehman Foundation. 47 The entry for this piece in the catalog of the Bibliothèque Nationale, gives the date as “27 avril 1889” which reflects the fact that it is almost impossible to tell from the manuscript if the penultimate number in the date the is a 6 or an 8. However, other evidence supports Nectoux’s reading of the date (item 101:528) including Fauré’s orthography in the manuscript and the fact that the published version cites the earlier date. 48 Most parts marked with the stamp of the Église de la Madeleine; the catalog of the Bibliothèque Nationale dates these parts from 1888–89 with some recopied c. 1930. 49 The part for second violoncello is a photocopy of a photocopy on 10 stave paper and containing three pages of music. 50 Second copy of first viola part has, as well: [upper center, blue pencil, a hand other than the copyist] “Alto solo”. 51 The catalog of the Bibliothèque Nationale dates these parts from 1888, c. 1895, and c. 1930. 52 From the catalog entry: “N’est pas de la main du musicien, ni de son style semble-t-il.”

Primary Sources 53

137

Date from the catalog entry. Resembles the paper used for Rés Vma ms 895 which is LEB. 55 From the catalog entry. 56 Also of interest: A copy of the libretto (LIV 171) which lists the performers in both the Monte Carlo and Paris premières. A copy of the piano-vocal score (Rés A843b), from the collection of M.Prudent de Ladrière which has bound with it posters and programs for the premières, an analysis, a musical autograph of Fauré, a literary autograph of René Fauchois, letters, autographs of the performers, photographs of costume and stage design, a great number of press clippings, and other memorabilia. A copy of the orchestral score of the Prélude which belonged to Ravel is held by the Département de la musique, Bibliothèque Nationale (Fol. Vm2 520 A). 57 The original and two copies of this letter together with a letter from Philippe Fauré-Fremiet (21 November 1946) arranging for the deposit of this material is to be found in the “Dossier Pénélope” (Bibliothèque de l’Opéra). 58 From the catalog entry, but the internal pagination is not consistent in its treatment of blank pages. 59 Manuscript not consulted; information from item 77. 60 Formerly, the Deutsche Staatsbibliothek (Bds). 61 The date is incorrectly given as 7 November 1924 in the article; another typographical error gives “Vitterville” for the correct “Villerville” in the description of the song manuscript (91). 62 The published work is, as indicated in the manuscript, dedicated to Madame Blum, and it seems clear from the difference in inks that Fauré presented the manuscript to René Brancour and inscribed it to him in October, 1913, some time after the completion of the composition. 63 As identified by the library’s catalog. 64 These manuscripts for the Préludes appear to be of a later date than those in the Bibliothèque National; there are fewer changes and more performance indications such as for dynamics. 65 See manuscript of Op. 84, No. 2, Bibliothèque Nationale MS 20802. 54

CHAPTER 4

Bibliography

With a few limitations, this bibliography is intended to include reference to everything of significance written about Fauré and his music from the late nineteenth century through 1994; in addition, items published after 1994 and those forthcoming, as they have been discovered, are also annotated. Included here, then, are monographs, articles in periodicals, dissertations, published pamphlets, and the like. A few book reviews are included: those which have been cited elsewhere, which review an important work, or which are written by a well-known scholar. No systematic attempt has been made to document Fauré’s treatment in daily or weekly newspapers, and articles and other items found in such publications are listed if they have been included in the checklists of other authors, if they deal with issues important to Fauré’s career (such as discussions of the scandale Ravel or reports of his funeral), or if, in the case of review of pieces or performances, they are authored by people important to the history of music and music criticism. Reviews of Pénélope are an exception, and quite a few are annotated below. Often, articles which appeared in daily or weekly papers were published in collections by their authors; where the original source is known, it is cited together with the republication. Theses for masters degrees are not annotated, but a checklist of those known is provided in Appendix D.Liner notes for recordings and compact discs are not included. Authors are cited by the name under which they published an item. If that name is a pseudonym, the author’s real name, if known, is indicated in square brackets. Items have been assigned to sections of the bibliography by subject. That part of the bibliography dealing with Fauré’s 139

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compositions is divided by genre and by piece within a genre. No item is cited more than once, and when one item treats more than one piece or genre (or both biography and compositional style), it is assigned to the section judged most appropriate. Cross-references are then provided which, together with the author index, should eliminate any confusion. Articles which form part of special issues of periodicals devoted to Fauré or which are part of a collection of essays are annotated separately; however, Appendix C lists such collections of material and their contents. An exception to this is the treatment of a number of special issues of daily papers at the time of Fauré’s death and funeral which receive only one citation each. Appendix B lists the contents of the annual issues of the only periodical devoted to Fauré and his works, the Association des amis de Gabriel Fauré: Bulletin, later retitled Études fauréennes. For items which could not be located (or which are forthcoming), often the only information available was to be found in abstracts published with the work itself (in the case of dissertations), in RILM, or in Dissertations Abstracts. Such cases are cited in footnotes with the indication, “from the author’s abstract”; full citations for the abstracts are not provided as they can be easily determined from the publication information of the item being described. The reader should be aware that certain items are not easily located. Articles in the more obscure French periodicals and in French newspapers are often found only in the Bibliothèque Nationale, Paris. And, certainly, others have eluded detection completely.

LIFE Monographs 89.

Alexandrescu, Romeo. Gabriel Fauré. Bucuresti: Editura Muzicala, 1968. 167pp. In Romanian, including the bibliography.

A monograph divided into a chapter on Fauré’s life and another on his compositions; there are photographs but no musical examples. List of works by genre and date; bibliography of 31 items. 90.

Fauré, Gabriel Auguste. Gabriel Fauré. Grenoble: B.Arthaud, 1945. 127pp.

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Less a biography than a series of reminiscences in the form of essays by a man of letters who was a devoted admirer of the composer; two of the essays (“La naissance de Pénélope” and “Le dernier enchanteur”) derive from earlier material (see items 253, 254, 255, 1026). Fauré’s admiration for Fauré can be summarized in his belief that Fauré was the French Mozart; quotes from correspondence with Fauré. See also item 256. 91.

Fauré-Fremiet, Philippe. Gabriel Fauré. Paris: Éditions Rieder, 1929. 100pp.; 2d ed. Paris: Albin Michel, 1957. 243pp.1

A biography which concentrates on Fauré the person: most often the setting for any discussion of his works is a major event in his life—his encounter with the music of Wagner, the deaths of his parents, or his deafness—and his reaction to it; particularly valuable for details of family history and of his relationships with family and friends; cites a number of letters. The first edition is not divided into chapters and includes 60 plates. The second edition omits the plates, divides the same text into chapters without titles, and adds several sections: “Reflexions sur la confiance fauréenne” (dealing with Fauré’s artistic philosophy), “Notes sur l’interprétations des œuvres” (general observations—that there is no “tradition fauréenne,” that mannerism and rubato are foreign to Fauré’s style—coupled with specific comments about the performance of a number of pieces), a list of works by opus number, a discography, and a bibliography. 92.

Kœchlin, Charles. Gabriel Fauré. Paris: Félix Alcan, 1927. 233pp.; 2d ed. Paris: Plon, 1949. 167pp. Reprint of 1st ed. Plan de la tour: Éditions d’aujourd’hui, 1983. ISBN 2-7307-0209-1

This monograph begins with a brief biography followed by a series of chapters discussing Fauré’s compositions in approximate chronological order within genres; pieces (with the exception of Prométhée and Pénélope) are treated in thumbnail sketches with occasional cross-genre comparisons; most interesting are the first paragraphs of the chapters on orchestral and stage music where the author acts as Fauré’s apologist as well as the longer chapter analyzing Fauré’s style in terms of a number of parameters; includes a list of works by opus number, a bibliography, and an iconography. The author indicates that the second edition makes only minor changes in the biographical chapter.

142 93.

Gabriel Fauré: A Guide to Research ——. Gabriel Fauré (1845–1924). Translated by Leslie Orrey. London: D.Dobson, 1945. Reprint. New York: A.M.S. Press, 1976. viii, 98pp. ISBN 0-404-14679-1

Translation of the first edition; Kœchlin’s introduction and the iconography are omitted; other emendations of text and notes are made without indication as are changes to the bibliography; in his own introduction, the translator corrects the list of works. 94.

Nectoux, Jean-Michel. Fauré. Paris: Éditions du seuil, 1972. 189pp. Revised and expanded edition, 1995. 255pp. ISBN 2-02023488-2

The first biography of the composer by the world’s foremost Fauré scholar; the book is divided into chapters each of which treat a short period of Fauré’s career; major compositions are discussed, usually in terms of their themes or of large-scale formal divisions; abundantly illustrated; includes as appendices a chronology of Fauré’s life, a list of works by genre with discography, and a bibliography. The second edition retains the text of the first edition with very slight modifications; the principal additions are in the greater number of illustrations (which are beautiful); the bibliography is updated, and the discography is separated from the work list (also updated) and expanded. 95.

Review: Gérard, Yves. Revue de musicologie 59, no. 1 (1973): 135–38.

The reviewer commends the author for having returned to primary sources to clear up misunderstandings about Fauré and his music: as a result, new historical facts are revealed and attention is paid to neglected compositions including the major works for the stage, Prométhée and Pénélope; would have preferred a stronger concluding chapter touching upon a “problématique Fauré” which would have given direction for future research. Gérard here makes his famous suggestion that Fauré’s output be divided into two periods (at La bonne chanson) rather than the customary three. 96.

Nectoux, Jean-Michel. Gabriel Fauré: Les voix du clair-obscur. Paris: Flammarion, 1990. 616pp. ISBN 2-08-066291-0

The most important monograph on Fauré and the starting point for all research on the composer; the organization of the book is generally

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chronological, but most chapters are devoted to a particular genre (“Sotto voce: Musiques de chambre I” or “Pour le piano”) or subject (“Texte et musique: Les années van Lerberghe) producing a flexibility of approach which permits the comparison of like pieces separated by years in Fauré’s life. Nectoux brings many of his own insights into his discussion of the music, but his analytical stance and style underline the influence of Vladimir Jankélévitch to whose memory the book is dedicated (see items 348, 425, 429, 430, 742, 1040); concludes with an essay on Fauré’s aesthetics and philosophy. A wealth of illustrations; appendices include a chronology of Fauré’s life (complementing the often recursive nature of the text), genealogical tables, a chronological table of Fauré’s compositions, a discography limited to Fauré’s own recordings on piano rolls (but see item 1110), an extensive bibliography, and indexes by name and musical work. Missing are a list of primary sources for the music and a subject index. 97.

Review: Duteurtre, Benoit. “Gabriel Fauré ou la belle époque.” Diapason-Harmonic 364 (October 1990): 40.

A favorable review which notes that the biography, which places Fauré in the context of his time, fills a great lacuna in the history of French music. 98.

Review: [?]. Dissonance 26(November 1990):38.

Not located. 99.

Review: Ollivier, Claude. Études 374, no. 1 (January 1991): 129–30.

A brief but favorable review noting the influence of Jankélévitch. 100.

Review: Fauquet, Joël-Marie. Revue de musicologie 78, no. 2 (1992): 341–3.

A favorable review which praises the scope of the book. Fauquet is discreet but appears not to appreciate in general the analytical approach which he notes is in the tradition of the writings of Vladimir Jankélévitch; nonetheless, finds that this approach works best in the discussion of Fauré’s music for the stage; notes in passing that Nectoux is less concerned than other authors (Michel Fauré, for example—see item 1117) with what he calls “la critique sociale.”

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101.

Nectoux, Jean-Michel. Gabriel Fauré: A Musical Life. Translated by Roger Nichols. Cambridge: Cambridge University Press, 1991. xxv, 646pp. ISBN 0-521-23524-3

An English translation of item 962; unfortunately omits the genealogical tables included in the original French edition. 102.

Review: Caballero, Carlo. 19th Century Music 16, no. 1 (Summer, 1992): 85–92.

A long and careful appraisal of the book which emphasizes the quality of Nectoux’s scholarship and declares that “the comprehensive scope of his inquiry unquestionably surpasses all previous biographical efforts”; the reviewer does fault the technical writing, finding the “analyses in the book…disappointing”; criticizes the translation for errors and for certain emendations which alter the sense of the original French; notes that there are a large number of misprints in the musical examples and that the genealogical tables are missing from the English edition. 103.

Review: Huebner, Steven.3 Journal of Musicological Research 13, nos. 1–2 (1993): 115–21.

A succinct review which, while praising the author for the quality of his historical scholarship, bluntly criticizes inaccuracies and misconceptions in analyses. 104.

Review: Orledge, Robert. Music & Letters 73, no. 2 (May 1992): 308–10.

Another generally favorable review which praises in particular Nectoux’s chapters on Fauré’s treatment of text and on his aesthetics and philosophy; the reviewer criticizes the author for a number of small errors without realizing that a number of them are the fault of the translator or of the editor of the English edition.4 105.

Review: Sobaskie, James. Notes 49, no. 2 (December 1992): 571–73.

A review with almost no adverse criticisms; refers to Nectoux’s analytical writing as using “intuitive language.”

Bibliography 106.

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Orledge, Robert. Gabriel Fauré. London: Eulenburg, 1979. xv, 367pp. ISBN 0-903873-1-9 (p) Revised edition, 1983. xvi, 376pp.

Until superseded by item 101, the principal modern biography of Fauré in English; biographical material is confined to the first chapter while the second deals with the reputation of Fauré’s music during his lifetime and afterward. Orledge then treats the music by genre within chapters devoted to each of the familiar three periods of Fauré’s output the last of which he further divides into three subsections; remaining chapters deal with compositional method and an examination of the various parameters of Fauré’s style. The analytical method throughout uses Roman numerals to discuss foreground relationships and is traditional as well in its concentration on themes and large-scale formal divisions. There are a number of illustrations; appendices include a chronological catalog of works with information about first performances and manuscript sources. However, because so many sources have changed location (most notably the Fauré family collection of manuscripts which were donated to the Bibliothèque Nationale as the book went to press), the information in this catalog is no longer reliable; other elements of the book remain useful including a list of Fauré’s self-borrowings, a bibliography (some errors), a work index, and a general index. See also the list of contents of six of Fauré’s eight sketch books (202). Orledge indicates in his preface to the second edition several reasons for a revised version of the monograph. Among them is the need for a revision of the manuscript list to reflect the large gift of Fauré materials by the composer’s family to the Bibliothèque Nationale; this he has accomplished, but there remain errors and omissions in this list, particularly with respect to materials held by American libraries. Orledge also wished more fully to acknowledge his scholarly debt to Jean-Michel Nectoux (see reviews to the first edition, items 108 and 109), and he has added notes in a number of places in the text. 107.

Review: Brody, Elaine. Notes 37, no. 1 (September 1980): 53.

Brody would have liked a book which helps bring Fauré to a non-French audience to have dealt with the question often asked of Fauré’s music— is it too quintessentially French to appeal to non-French audiences? She also complains that for all the positive attributes of the book, the reader does not come to know the man behind the music; concludes that while not the definitive biography, it is a “step in the right direction”; mentions

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the author’s scholarly debt to Nectoux but not in the same tone as other reviewers (items 108 and 109). 108.

Review: Daitz, Mimi S.Revue de musicologie 66, no. 1 (1980): 105–8.

The reviewer admits the success of the book in its twin aims to appeal to a wide audience and to replace the older biography of Fauré by Suckling (item 113). However, Daitz chastises the author severely for what she views as improper borrowings from Nectoux’s first biography (item 94) and takes exception to his assertion of Fauré’s authorship of two songs of doubtful authenticity, the choice of illustrations, and the haste with which she believes the work was accomplished. 109.

Review: Kidd, James C. 19th Century Music 4, no. 3 (Spring 1981): 276–80.

This lengthy and thoughtful review praises the “treatment of the documentary evidence” but faults that of the music itself; considers Orledge’s approach to be one of description and categorization rather than of serious analysis by reference to “clearly-defined, developed, and integrated stylistic criteria”; sharply criticizes Orledge for “unacknowledged indebtedness” to Nectoux’s work (item 94). 110.

Review: Nash, Peter P.Tempo 135 (December 1980): 37–38.

The reviewer praises the book for amount of information it offers but criticizes the author for failing to provide his own critical insights by depending overly much on critical clichés and the judgments of others (as reflected in numerous quotations); also laments the lack of largescale analyses and the brevity of the treatment of the various parameters of Fauré’s technique. 111.

Servières, Georges. Gabriel Fauré. Paris: Henri Laurens, 1930. 128pp.

A monograph divided into a biographical chapter and one treating Fauré’s compositions by genre in descriptive fashion; the author evidently prefers the music of the first and second periods attributing “certaines duretés ou gaucheries” which “disfigure” the third period works to Fauré’s deafness. Catalog of compositions and writings; short bibliography; illustrations.

Bibliography 112.

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Siguitov, Sergei. Gabriel Fauré. Moscow: Ed. des Compositeurs Soviétiques, 1982. In Russian.

A life and works with numerous musical examples including a key scheme for the Requiem; list of works is by opus number; bibliography comprises secondary sources in French, English, and Russian although none of the last section deal directly with Fauré. Illustrations. (See also item 474.) 113.

Suckling, Norman. Fauré. London: J.M.Dent, 1946. Reprint. Westport, CT: Hyperion Press, Inc., 1979. vii, 229pp. ISBN 088355-745-2

The first biography of Fauré in English is divided into chapters dealing with the composer’s life and with music in France before Fauré and, subsequently, with Fauré’s music by genre; despite its age, the book remains valuable for Suckling’s discussion of Fauré’s style which, while intellectually substantial, uses a minimum of technical language; useful appendices include a calendar of Fauré’s life which in a separate column makes reference to the births and deaths of contemporary composers and a list briefly identifying people important to Fauré’s biography. Illustrations, list of works, very abbreviated bibliography. 114.

Vuaillat, Jean. Gabriel Fauré: Musicien français. Lyon: Emmanuel Vitte, 1973. 130pp.

A brief life and works volume written for the amateur and invoking many of the familiar clichés about Fauré’s style; short bibliography and discography. 115.

Review: Chamfray, Claude. Courrier musical de France 51 (September-December 1975): 113–14.

A short review which describes the book and indicates that it fulfills its purpose, stated in the preface, to enlighten the amateur. 116.

Vuillemin, Louis. Gabriel Fauré et son œuvre. Paris: Durand, 1914. 55pp.

This laudatory little book begins with a succinct biographical sketch but deals for the most part with the vocal music to 1914 which is used to determine four style periods, the last including La chanson d’Eve and Pénélope; useful principally as an indication of Fauré’s stature before

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the composition of his last three song cycles and the great late chamber works: Vuillemin suggests that although Fauré is little known, he will be better known in a decade and completely appreciated in fifty years (13); he also predicts that La bonne chanson will eventually enjoy great popularity. 117.

Vuillermoz, Émile. Gabriel Fauré. Paris: Flammarion, 1960.5

The front matter includes a brief chronology of Fauré’s career; the first chapter is also biographical and is important for the personal anecdotes of the author’s student relationship with Fauré; the remainder of the text treats Fauré’s musical output descriptively reflecting the author’s career as a music critic—there are no musical examples in notation; a work list is organized chronologically. 118.

——. Gabriel Fauré. Translated by Kenneth Schapin. Philadelphia: Chilton Book Co., 1969. xiv, 267pp. Reprint. New York: DaCapo Press, Inc., 1983.

An English translation of item 117. Appended (173–259) is a lengthy discography by Steven Smolian; works are organized by genre; listings which reach into the late 1960s include names of performers, record label and number, date of release, and physical description of the recording. See also item 1110. 119.

Review: DeVoto, Mark. Notes 27, no. 4 (June 1971), 709–10.

The reviewer deals with the book only briefly finding it “another of those tedious, vacuous, adjective-loaded exegeses that tell us that music is not really music but literature or landscape-painting”; however, considers the discography a “saving grace.” Encyclopedia articles With a few exceptions, the items below are drawn from music encyclopedias only. 120.

“Gabriel Fauré.” Larousse du XXe siècle, edited by Paul Augé. Paris: Librairie Larousse, 1930.

In a few paragraphs, the article lists the major events of Fauré’s life and his principal compositions; credits Fauré, together with Debussy, with

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the “emancipation” of French music after Wagner as well as with reconnecting French music to its classical tradition. 121.

Cahn, Peter. “Gabriel Fauré.” Metzler Komponisten Lexikon, edited by Horst Weber. Stuttgart: J.B.Metzler, 1992. ISBN 3-476-00847-9

An overview of Fauré’s compositions and compositional style, particularly that of the late period which is characterized by ambiguity and harmonic relationships by third coupled with a strengthening of classical formal procedures; emphasizes Fauré’s importance to the development of chamber music in France. 122.

Dufourcq, Norbert. “Gabriel Fauré.” Laromse de la musique, edited by Norbert Dufourcq. Paris: Librairie Larousse, 1957.

A short article comprising a biographical sketch, a condensed list of works, and a brief appraisal of Fauré’s place in the history of French music. No bibliography. 123.

Fauré-Fremiet, Philippe. “Gabriel Fauré.” Die Musik in Geschichte und Gegenwart, edited by Friedrich Blume. Kassel: Bärenreiter Verlag, 1949–1967.

Published in 1954, this article is in the sectional format usual to this encyclopedia: biography, list of works, critical discussion, and bibliography. The author deems Fauré, Debussy, and Ravel to be the most important representatives of the “newer French school” which held sway between 1880 and the death of Ravel; asserts that while Fauré was influenced early by the music of Chopin, Mendelssohn, and Schumann, he himself was no romantic; cites the notion 6 that Fauré was the precursor of impressionism but expresses his doubts about the idea and contrasts the music of Debussy and Fauré. 124.

Goléa, Antonie. “Gabriel Fauré.” Encyclopaedia universalis. Paris: Encyclopaedia Universalis, 1985.

An article which deals almost entirely with Fauré’s style, his place in the history of French music, and his influence; in this the author is original, dismissing a number of familiar characterizations of Fauré (that he was of the nineteenth rather than the twentieth century; that he was a composer of great “modesty”; that his “limitations” prevented his

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composing for the stage). A bibliography of principal monographs is included, but there is no list of works. 125.

Griffiths, Paul. “Gabriel Fauré.” The Thames and Hudson Encyclopaedia of 20th-century Music. London: Thames and Hudson, 1986. ISBN 0-500-23449-3

A paragraph citation with a list of Fauré’s works composed after 1900; remarkable only for Fauré’s having been included in a reference work devoted to the twentieth century. 126.

Haraszti, Émile. “Gabriel Fauré.” Enciclopedia dello spettacolo. Rome: Casa Editrice le Maschere, 1958.

Includes a biographical sketch followed by a discussion of the principal works for the stage—Prométhée, Pénélope, and Masques et bergamasques; important for the work list which gives details of first performances; short bibliography. 127.

Honegger, Marc. “Gabriel Fauré.” Dictionnaire de la musique: Les hommes et leurs œuvres. 2d ed. Paris: Bordas, 1986. ISBN 204-015396-9

A chronology of life and principal works is followed by a list of compositions, a critical discussion of Fauré’s music, and a small bibliography. Honegger’s ideas about Fauré and his music are important for their differences with prevailing opinion: he finds a stronger Wagnerian influence on Fauré’s composition than do others (particularly in La bonne chanson), denies any influence by Fauré on the principal composers of the generation following him, and maintains that Fauré is neither a classicist nor a romantic; supports his assertions with specific examples of Fauré’s musical language. 128.

Hull, Arthur Eaglefield. “Gabriel Fauré.” A Dictionary of Modern Music and Musicians. London: J.M.Dent, 1924. Reprint. New York: AMS Press, 1973. ISBN 0-404-08315-3

Hull, writing before Fauré’s death, observes that the restraint of Fauré’s “classical” style hides “his most daring innovations” but goes on to maintain that “…this is no reason why the intense originality and eloquence of his music should be denied”; also refers to “the perspicuity of his music.”

Bibliography 129.

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Landormy, Paul, and Joseph Loisel. “L’Institut de France et le Prix de Rome.” In Part 2 of Encyclopédie de la musique et dictionnaire du Conservatoire, 3479–3575. Paris: Delagrave, 1913–31.

This article includes biographical sketches of members of the Institut; that on Fauré (3519–22) is inaccurate in biographical matters (both birth date and death date are incorrect) and lists no compositions after Pénélope (1913). 130.

Nectoux, Jean-Michel. “Gabriel Fauré.” The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. London: Macmillan Publishers Limited, 1980.7 ISBN 0-333-23111-2

In spite of its age (and its author’s later monograph on Fauré [items 96/ 101]), this article remains the best short source on the composer and his music. It is divided into sections on Fauré’s life (concentrating on the development of his career), his style (divided into four style periods), and his compositions; includes a bibliography and a detailed work list including dates of composition and publication but no information about primary sources beyond the indication that most manuscripts are in the Bibliothèque Nationale. 131.

——. “Gabriel Fauré.” In The New Grove Twentieth-Century French Masters, edited by Stanley Sadie, 1–37. New York:W. W.Norton & Company, 1986. ISBN 0-393-30350-0 (p)

A reprint of item 130; the bibliography is slightly expanded. 132.

Review: Salter, Lionel. Musical Times 128, no. 1727 (January 1987): 24f.

A review of the entire collection with the only comment on this chapter a quibble about whether Fauré can rightly be called a twentieth-century composer. 133.

Riemann, Hugo. “Gabriel Fauré.” Dictionnaire du musique. Translated from 4th ed. of Musik-Lexikon by Georges Humbert. Paris: Perrin, 1899.

A short reference8 which lists Fauré’s professional positions and his compositions and mentions his winning of the Prix Chartier for chamber music in 1885.

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134.

Rostand, Claude. “Gabriel Fauré.” Encyclopédie de la musique. Edited by François Michel, François Lesure, and Vladimir Fédorov. Paris: Fasquelle, [1958–1961].

A well-written and straightforward article which begins with a chronological treatment of life and works and continues with a profound discussion of Fauré’s aesthetics, style, and musical language, by reference first to the familiar three style periods of the composer’s output and then to his works by genre; regrets that the late works of Fauré, like those of Debussy, are so little known since the early works, including the Requiem, do not represent him fairly. There is a work list by genre as well as a bibliography which includes the principal biographies and an uneven selection of other monographs and articles. 135.

Slonimsky, Nicolas. Music since 1900. 5th ed. New York: Schirmer, 1994. ISBN 0-02-872418-6

In this day-by-day chronicle of music in the twentieth century, a number of events in Fauré’s career are mentioned including the following entry for 4 November 1924: “Gabriel Fauré, French composer of poetic music profoundly national in the source of its inspiration, creator of a new transitional style of neo-archaic modal harmony, touched with preimpressionistic imagery, great educator and teacher of two generations of French musicians, dies in Paris at the age of 79” (254). 136.

Thompson, Kenneth. “Gabriel Fauré.” A Dictionary of Twentieth-Century Composers (1911–1971). London: Faber & Faber, 1973.

A brief biographical sketch followed by a chronological list of works with dates of composition, first performance, and publication (superseded by more recent scholarship); list of Fauré’s writings; bibliography (some errors). See also items 874 and 1016. Biographical articles, general histories, and memoirs A number of the following were first published in daily or weekly newspapers and later published in collections; since the original details of publication are not often known and since these items are not easily available in their first incarnation, the citations given are for the reprinted versions.

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Some of these articles are of a miniature life-and-works type which flourished in France in the early part of the twentieth century and were intended for the educated amateur; these essays, which are not entirely without interest, follow a pattern which includes a brief, anecdotal biography and a stylistic discussion mentioning the best-known compositions and invoking the adjectives habitually applied to Fauré’s style: charming, noble, classic (Hellenic), restrained, modest, pure, and so forth. Articles which treat Fauré’s style more systematically and with less emphasis on biography are cited below in sections which deal with stylistic analysis, technical matters, or Fauré’s compositions by genre. 137.

Aguettant, Louis. “Rencontres avec Gabriel Fauré [letter to André Lambinet],” edited by Jean-Michel Nectoux. Études fauréennes 19 (1982): 3–7. Excerpts published earlier as “Gabriel Fauré: Mon Requiem est une aspiration au bonheur.” Paris-Comœdia, 3–9 March 1954, 1, 6.

Details three meetings with Fauré at which were discussed the Requiem and Fauré’s view of death, the problems of finding adequate poetry to set as songs (Aguettant concluding that Fauré was more careful in his choice of texts than most musicians), the thematically cyclic nature of La bonne chanson (which Fauré initially tried to deny), and the debt French music owed to Saint-Saëns. 138.

Alstadter, Judith. “Recollections of Gabriel Fauré.” Music Clubs Magazine 49, no. 2 (Winter 1969–1970): 12–13.

A brief memoir of meeting Emmanuel Fauré-Fremiet and Blanche Fauré-Fremiet and of being invited to play a piano recital in Fauré’s apartment, rue des Vignes. 139

——. “Fauré: The Man and His Music.” Music Journal 29, no. 7 (September 1971): 52, 78–79.

An account of the author’s acquaintance with Fauré’s son and daughterin-law together with a superficial—and inaccurate—biographical sketch and survey of works. 140.

Aubert, Louis. “Quelques souvenirs.” Part of Chapter 12 in Cinquante ans de musique française, edited by Ladislas Rohozinski, 2:359–420. Paris: Librairie de France, 1925.

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In this memoir (382–85), Aubert writes of being a choir boy at the Madeleine when the Requiem was first performed and of attending Fauré’s course in composition at the Conservatoire. 141.

Auburtin, Jean. “Gabriel Fauré.” Lecture with recital, c. 1932.9

A “causerie” which includes a biographical sketch and gives a superficial overview of Fauré’s style; dated from internal evidence. 142.

Bastin, Yvonne. “Causerie.” Lecture, undated.10

A talk which rehearses Fauré’s life and comments on his style mentioning specifically various elements of his harmonic language; includes a list of Fauré’s compositions. 143.

Bathori, Jane. “Les musiciens que j’ai connus: 1. Roussel, Fauré, Hahn, Chabrier, and Ravel.” Translated by Felix Aprahamian. Recorded Sound: The Journal of the British Institute of Recorded Sound 1, no. 5 (Winter 1961–62): 144–51.11

The author—a pianist and singer—underscores familiar notions about Fauré’s music, especially the need “to penetrate deeply into the music…to grasp its refined sentiment”; most interesting is Bathori’s reporting that Fauré told her that he had her in mind when he composed “Danseuse” Op. 113, No. 4. 144.

Beltrando-Patier, Marie-Claire. “Gabriel Fauré—Leben und Werk.” In Gabriel Fauré: Werk und Rezeption, edited by Peter Jost, 21–35. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

A short biography serving as introduction to this collection. The author concludes her article by observing how difficult it is to classify Fauré: is he to be viewed as a conservative composer, tied to the past, or as the most forward-looking aspect of a nineteenth-century aesthetic in its striving toward the modern; and how is one to understand the paradox of finding elements of Fauré’s late, austere style in his earliest works? Beltrando-Patier asserts that one cannot find, even in the works of Debussy and Ravel, a freedom comparable to that evinced by Fauré’s music. 145.

Bernard, Robert. “Fauré et ses élèves.” Chapter 11 of Histoire de la musique, 784–847. Paris: Fernand Nathan, 1961.12

Bibliography

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The section on Fauré himself (784–804) begins with a discussion of Fauré’s harmonic language, continues with a biographical section, and ends with a stylistic analysis of Fauré’s works, genre by genre; traces influences on Fauré (Gounod, Chopin, Schumann) and compares Fauré with Debussy, particularly in their treatment of Verlaine’s texts. Sections of the chapter are devoted to Ravel (804–28) and other students of Fauré—Schmitt, Roger-Ducasse, Aubert, Ladmirault, Kœchlin (829–47). Implies that Fauré’s influence on these composers was not stylistic but rather philosophical or spiritual—of Ravel, Bernard suggests that Fauré’s teaching, which permitted the younger composer to find his own way, kept Ravel from being a “victime de la fascination du sortilège debussyste” (805). Fauré is mentioned throughout the work in reference to Gounod, Schumann, Franck, Debussy, and even Machaut; cites Fauré’s influence on Honegger (898), René Bernier (900), and Enesco (1253). 146.

Bertelin, Albert. “Quelques souvenirs sur Gabriel Fauré.” Musique et théêtre, 1 April 1925, 14.

A reminiscence of Fauré which concentrates on traits of his personality and their manifestation in his approach to music—his own and that of other composers. 147.

Borgex, L. “Un grand musicien français: M.Gabriel Fauré.” Comœdia, 9 May 1913, 4.

A brief encomium using the familiar adjectives about Fauré’s style and declaring him characteristically French; veiled references to Fauré’s relationships with other composers; oblique mention of Pénélope. 148.

Boulanger, Nadia. “[Memoir].” Association des amis de Gabriel Fauré: Bulletin 10 (1973): 5.

A brief tribute to Fauré stressing his personal virtues and predicting greater glory for his music in the future. 149.

——. “Hommage à Nadia Boulanger [Interview with JeanMichel Nectoux].” Études fauréennes 17 (1980): 3–5.

As part of a memorial tribute to Boulanger, Nectoux edits an interview with her done on 19 January 1974 in which Boulanger is asked particularly about Fauré as teacher; she stresses Fauré’s memory, how his

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manner allowed each student to find himself, and the way in which his music couched harmonic novelties within the tradition of classic forms. 150.

Busser, Henri. “Gabriel Fauré.” L’éducation musicale 9, no. 9 (June 1954): 3.

Busser remembers his first encounters with Fauré and his music when he was a student at the Niedermeyer school in the mid-1880s; finds in Fauré’s style the influence of Mendelssohn, Saint-Saëns, and Gounod. 151.

Calvocoressi, Michel D. Music and Ballet: Recollections of M. D.Calvocoressi. London: Faber and Faber, 1934.13 Reprint. New York: AMS Press, 1978. 320pp.

The author devotes a brief section (132–36) of his memoirs to Fauré (“a prince among musicians”) and discusses his influence on French music, his innovations which were “far more subversive” than those of Debussy and Ravel, the reception of his music abroad, and the author’s attempt to have Diaghilev commission a ballet from Fauré. 152.

Chaumont, Gaby. “Récit de Mme Chaumont, de Cancale.” Elle, 29 May 1964, 152–53.

Amusing and touching memoir about a correspondence with Fauré initiated by Mme Chaumont as a young girl. See item 153. 153.

——. “[Memoir].” Journal musical français 131 (10 October 1964): 8.

Part of a special issue of the journal devoted to Fauré; a reprint of item 152. See items 257, 266, 710, and Appendix C. 154.

Cœuroy, André. “Gabriel Fauré.” In La musique française moderne, 21–29. 2d ed. Paris: Delagrave, 1924.

A brief and superficial overview of Fauré’s compositions; refers to Fauré as a “bolchevik”; extols the Second Piano Quintet in the introduction to the book. 155.

Collet, Henri. Albéniz et Granados. Paris: Félix Alcan, 1926. 245pp.

Credits Albéniz with introducing Dukas to Fauré (57 f).

Bibliography 156.

157

Combarieu, J. De la mort de Beethoven au début du XXe siècle. Vol. 3 of Histoire de la musique des origines à nos jours. Paris: Armand Colin, 1919.14

Combarieu treats Fauré within “Symphonie et musique de chambre,” Chapter 21 of Section 3, “Les courants nouveaux” (544–49); suggests that while Fauré has been likened to Saint-Saëns, his preference for small forms invites rather a comparison with Schumann; speaks about early and middle period works including a thematically-oriented description of the First Piano Quartet; quotes Fauré’s sketch of the history of musical style from 1870 to 1915, drawn from an essay of the composer’s published in the Soleil du Midi, 30 April 1915, and reworked as part of the preface to George Jean-Aubry’s La musique française d’aujourd’ hui (see item 34). 157.

——and René Dumesnil. L’aube du XX e siècle. Vol. 4 of Histoire de la musique des origines à nos jours. Paris: Armand Colin, 1958.

A later edition of item 156, authored by Dumesnil; Fauré is discussed at greater length in two chapters, “Gabriel Fauré: I.Mélodies, Musique de clavier, Musique de chambre” (111–34) and “Gabriel Fauré: II. Musique religieuse, Théêtre” (135–52). Dumesnil compares Fauré with Mozart and attributes to Fauré a greater importance to the history of French music, both for his own compositions and for his influence on his students, than do many other authors; traces the development of Fauré’s style through a survey of the genres mentioned in the chapter titles—here, Dumesnil’s observations about Fauré’s style in general are more insightful than the capsule descriptions of individual works. 158.

Coulomb, P. “Fauré ou la sensibilité française.” In Vies des grands musiciens racontées à la jeunesse, 131–35. Paris: Gründ, 1946.

A chronicle of Fauré’s life designed for older children. 159.

Cusenier, S. “L’époque de Gabriel Fauré.” L’éducation musicale 9, no. 9 (June 1954): 10–11.

A chronicle of the political, social, and artistic currents in France from 1870 through the First World War.

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160.

Doret, Gustave. Temps et contretemps: Souvenirs d’un musicien. Fribourg: Éditions de la Librairie de l’Université, 1942. 510pp.

Doret, a Swiss conductor and composer, was acquainted with Fauré and recounts anecdotes of discussing Niedermeyer with Fauré, of attending Fauré’s funeral with the young Frank Martin, and of participating as a member of the juries for the first and subsequent Concours Fauré. 161.

Dumesnil, René. “La renaissance musicale française à la fin du dix-neuvième et au vingtième siècles: II. Gabriel Fauré.” Part of Chapter 13 of Histoire de la musique illustrée, 246–248. Paris: Plon, 1934.

A short article (in the style of an encyclopedia entry) which, in spite of its brevity lists many of the essential facts of Fauré’s life and most of his compositions and expresses the author’s usual themes of Fauré’s use of modality and Mozartean qualities; as well, Dumesnil communicates his displeasure at how rarely Fauré’s music (particularly the large stage works) is performed. 162.

Durand, Jacques. Quelques souvenirs du’un éditeur de musique. 2 vols. Paris: Durand, 1924–1925. 136, 161pp.

The first volume of the memoir extends to 1909 and mentions Fauré briefly in connection with his supervision of the rehearsals in Rouen of Saint-Saëns’s Samson et Dalila and with his move to Durand as publisher of his music; also refers to “une pléiade de jeunes compositeurs” who received from Fauré “[un] enseignement lumineux.” The second volume, dealing with the years 1910–1924, recounts the beginning (with Fauré’s participation) of Durand’s Édition classique as well as the author’s first hearing of Le jardin clos performed in his office by Fauré and Claire Croiza; the last few pages of the book are devoted to the end of Fauré’s life and include the information that the composer’s signature on the publication contract for the String Quartet were the last words he wrote. 163.

Fauré-Fremiet, Emmanuel. “Entretien avec Emmanuel FauréFremiet,” edited by Jean-Michel Nectoux. Scherzo 1, no. 8 (December 1971): 14–15. Reprinted with modifications in Association des amis de Gabriel Fauré: Bulletin 9 (1972): 12–18.

Bibliography

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In wide-ranging interviews conducted on 14 January and 11 February 1971, Fauré-Fremiet presents childhood memories of his father, of rehearsals in their apartment, and of visits by Dukas, Chabrier, and Saint-Saëns; Fauré-Fremiet reminisces also about his father’s style and technique as a pianist especially in the performance of his own works. The reprinted version omits a few passages from the original but adds a passage concerning Fauré’s view of Brahms and Nectoux’s suggestions of similarity between a few works of the two composers. 164.

——. “Gabriel Fauré, My Father.” Translated by Judith Alstadter. Triangle 66 (1972): 9–11.

Not located. 165.

Fauré-Fremiet, Philippe. Remarks before a private concert. Unpublished.15

Talk before a concert given in memory of Fauré by L’Association des Prix de piano du Conservatoire. 166.

Fourcaud, Louis de. “Notice.” Album du Gaulois, 1 January 1891.

Not located. 167.

Guitard, Louis. “Entretien avec Louis Aubert.” La table ronde 165 (October 1961): 141–45.

Louis Aubert remembers Fauré as a gentle teacher but also a man with strong opinions about music; speculates that it is “la perfection de son style” which makes the music of Fauré so difficult to penetrate, particularly beyond the borders of France; cites Fauré’s influence on his own composition. 168.

Haraszti, Émile. “De la mort de Liszt à Debussy.” Chapter 18 in Précis de musicologie, edited by Jacques Chailley, 291–306. Paris: Presses universitaires de France, 1958.

Includes a capsule summary (299f) of Fauré’s output, concentrating on the dramatic works and those for voice and piano; repeats the usual myths about Fauré’s orchestrations (see items 536 and 537); brief bibliography (305f). See also item 194.

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169.

Harding, James. Saint-Saëns and His Circle. London: Chapman and Hall, 1965. xvi, 255pp.

In a number of passages, chronicles the intertwining of the lives and careers of Saint-Saëns and Fauré. 170.

Hertich, Charles. La génie poétique de Gabriel Fauré. SaintÉtienne: Éditions des Flambeaux, 1945. 31pp.

For the general public and apparently conceived as a lecture; traces Fauré’s career as a composer, first chronologically (emphasizing the role of the Société nationale in presenting Fauré’s works) and then by genre; dutifully mentions each piece, characterizing it grandly but vapidly in a sentence or two: “Dès l’exposition de ce chef-d’œuvre [the Sixth Nocturne] nous sommes touchés dans les profondeurs par l’éternel humain” or “Puis surgit le vif scherzo [of the First Violin Sonata]…; on croit voir voleter des elfes ou des papillons….” The writing is specific (and, thus, useful) only when critical of a composition such as Pénélope or the String Quartet. Bound with this article is a brief one by Émile Brande on the First Violin Sonata (item 830). 171.

Imbert, Hugues. “Profils de musiciens: Gabriel Fauré.” L’indépendence musicale et dramatique 1, nos. 14 & 15 (15 September & 1 October 1887): 393–401, 425–39.16 Reprinted in Profils de musiciens, 57–78. Paris: Fischbacher, 1888.

This article is one of the few sources for the nature of the reception of Fauré’s music early in his career. In his introduction, Imbert confesses to knowing little of Fauré’s music but likes that which he has heard: “…il a la profondeur et l’intensité de la rêverie germanique avec la précision de lignes des pay sages provençaux”; divides Fauré’s career to 1887 into two periods at 1878; asserts that Bach is for Fauré the greatest composer; compares the piano music to that of Chopin; the songs (whose style he finds remarkably different from that of the piano music) remind Imbert of Lieder of Schumann, Schubert, or Brahms; cites Benoît who finds in Fauré’s intimate style a reflection of Grieg and sees Fauré as a successor to Alexis de Castillon; mentions performances of the Violin Concerto Op. 14 and the Symphony Op. 40; compares part of the First Violin Sonata Op. 13 to a piece by Joachim Raff. 172.

Indy, Vincent d’. “Souvenirs de M.Vincent d’Indy.” Part of Chapter 12 in Cinquante ans de musique française, edited by

Bibliography

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Ladislas Rohozinski, 2:359–420. Paris: Librairie de France, 1925. D’Indy’s memoir (385–88) asserts that Fauré was—together with Duparc, Lalo, Chabrier, and d’Indy—part of a group of “disciples” around Franck; also mentions Fauré’s friendship with Paul Poujaud. 173.

Inghelbrecht, Désiré-Émile. Mouvement contraire: Souvenirs d’un musicien. Paris: Éditions Domat, 1947. 337pp.

Presents anecdotes about a rehearsal of Pénélope with Croiza, a tribute to Fauré at Versailles (June 1910?), and his arrangement of the Theme and Variations Op. 73 as a ballet. 174.

Isacoff, Stuart. “The Loves of Emma Bardac.” Musical America, January-February 1992, 38–41.

A review of Thomas Mowrey’s video which examines the influence of Emma Bardac on the lives and careers of Fauré and Debussy; asserts that Hélène “Dolly” Bardac was Fauré’s child, a notion dismissed by other scholars (see, for example, item 101:181). 175.

Jourdan-Morhange, Hélène. “Gabriel Fauré intime.” Feuilles musicales 7, nos. 4–5 (May-June 1954): 78–81. Reprinted in the authors’s Mes amis musiciens, 22–30. Paris: Éditeurs franréunis, 1955.

Written by a violinist who performed with Fauré, this article is a very readable memoir composed of anecdotes about Fauré’s relationships with friends and colleagues. The reprinted version is slightly expanded and includes a defense of Fauré’s music and the author’s views on the interpretation of the Second Violin Sonata; elsewhere in the book are comments about the degree of Fauré’s influence on Schmitt, Honegger, Poulenc, and Roussel. 176.

Knight, Ellen. Charles Martin Loeffler: A Life Apart in American Music. Urbana and Chicago: University of Illinois Press, 1993. xv, 345pp. ISBN 0-252-01908-3

A biography of the American musician who was acquainted with Fauré and to whom he dedicated the Second Violoncello Sonata; Fauré is mentioned in a number of passages.

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177.

Kœchlin, Charles. “Souvenirs de Charles Kœcklin [sic].” Part of Chapter 12 in Cinquante ans de musique française, edited by Ladislas Rohozinski, 2:359–420. Paris: Librairie de France, 1925.

In his memoir (387–95), Kœchlin gives a detailed impression of Fauré as teacher, particularly as compared with Massenet; refers to the salutary influence both Debussy and Fauré had upon him; reminisces about trips to London (Pelléas et Mélisande) and Béziers (Prométhée); speaks of “la suprême beauté grecque” which sets off Fauré’s work; offers a defence of “Père” Hamelle in his dealings with the young Fauré. 178.

Landormy, Paul. “Gabriel Fauré (1845–1924).” Trans. M.D. Herter Norton. Musical Quarterly 17, no. 3 (July 1931): 293–301.

Partly a sketch of Fauré’s character as it is reflected in his music and partly a discussion, citing Fauré’s correspondence, of his development of the thematic associations in Pénélope; compares the cool reception of Fauré’s music outside of France to that of Brahms’s compositions in France; asserts that Fauré “revitalized the language of music” and prepared the road for Debussy. 179.

Langevin, Paul-Gilbert, ed. “Musiciens de France: La génération de grands symphonistes.” La revue musicale 324–26 (1979).

Includes a photograph of Fauré and Guy Ropartz at the Café Thiers, Nancy, in 1902 but no other mention of Fauré. 180.

Le Moigne-Mussat, Marie-Claire. Musique et société à Rennes aux xviiie et xixe siècles. Geneva: Minkoff, 1988.

A detailed chronicle of musical life in Rennes in which Fauré figures at the beginning of his career when he was organist of the church of SaintSauveur; included is a reproduction of the program for the inaugural conceit of the organ at Saint-Sauveur in August of 1866; Fauré is mentioned, as well, in his later capacity of Inspector of Musical Education for the Conservatoire. 181.

Lenormand, Henri-René. Les confessions d’un auteur dramatique. Paris: Albin Michel, 1949. 2 vols. 344pp.

Lenormand describes the friendship between Fauré and his father, author of item 534 (1:43–44).

Bibliography 182.

163

Lombardi-Giordano, Clara. Gabriel Fauré: Essai historique et analytique. Messina: G.D’Anna, 1959. 69pp.

Originally presented 10 April 1954 as a lecture illustrated by recordings and a performance of the Piano Trio Op. 120. A rambling discursive overview of Fauré’s life and works touching on some specific technical details but not in any systematic fashion; includes a short bibliography. 183.

Lortat, Robert. “Dans le souvenir de Gabriel Fauré.” Les nouvelles musicales 1, no. 1 (1 June 1933): 1–2.

A reprint of excerpts from item 750: anecdotes describing Lortat’s first meeting with Fauré at which the pianist played Fauré’s compositions for him, Lortat’s concert tour with the composer in England, and the National Act of Homage at the Sorbonne in June of 1922. 184.

Malherbe, Charles. “Gabriel Fauré.” S.I.M. 6, nos. 8 and 9 (August-September, 1910): xvii–xviii.

A very brief biographical sketch and list of important works; the same issue contains programs and program notes for several concerts which include works by Fauré; in German. 185.

Mare, Jeanne de. “Gabriel Fauré: A Biographical Sketch.” Franco-American Musical Society Quarterly Bulletin, March 1925, 6–10.17

A short biographical sketch together with some general critical remarks which stress that Fauré’s harmonic daring is founded on a classical underlying structure which guarantees simplicity and aesthetic unity. Certain of his students are mentioned. There is a chronological list of compositions which is not completely accurate. 186.

Messager, André. “Souvenirs d’André Messager.” Part of Chapter 12 in Cinquante ans de musique franc, aise, edited by Ladislas Rohozinski, 2:359–420. Paris: Librairie de France, 1925.

In this memoir (395–98), Messager makes only one brief reference to Fauré: “avec qui je vivais comme un véritable frère.”18 187.

Monsaingeon, Bruno. Mademoiselle: Conversations with Nadia Boulanger. Translated by Roby Marsack. Manchester: Carcanet

164

Gabriel Fauré: A Guide to Research Press, 1985. 141pp. ISBN 0-85635-603-4 First published as Mademoiselle: Entretiens avec Nadia Boulanger. Paris: Éditions Van de Velde, 1981.

Boulanger remembers Fauré as teacher (24f); speculates on the reason for the lack of attention paid Fauré’s music outside of France19; comments on the distinctiveness of Fauré’s style and his importance as a model. 188.

Nectoux, Jean-Michel. “Fauré, Henry Prunières et La revue musicale.” Études fauréennes 17 (1980): 17–24.

Citing correspondence between Fauré and Prunières, Nectoux discusses their interaction regarding Fauré’s contributions to La revue musicale: an article on Saint-Saëns (item 13) and a memoir for the issue in 1922 devoted to Fauré, himself (item 42); also recounts the organization of the compositional Hommage à Gabriel Fauré which appeared as musical supplement to the 1922 issue. 189.

——. “Deux interprètes de Fauré: Émilie et Edouard Risler.” Études fauréennes 18 (1981): 3–25.

A detailed examination of the friendship and professional relationship between Fauré and the pianist, Edouard Risler, and his wife, née Mimi Girette, a mezzo-soprano; includes excerpts from Mme Risler’s diary and the text of letters from Fauré to both performers. 190.

Nigoul, Toussaint. “Gabriel Fauré.” L’Ariège pittoresque 2, no. 50 (29 May 1913): 1–3.

The author, a friend of Fauré’s eldest brother, Amand, reminisces about the Fauré family. 191.

Perrin, Maurice. “Notes sur Gabriel Fauré.” Feuilles musicales 7, nos. 4–5 (May-June 1954): 81–84.

A collections of musings, some very insightful, on various technical aspects of Fauré’s style which often suggest avenues of further analytical research in this music. 192.

Pioch, Georges. “Gabriel Fauré.” Conservatoires et théâtres 1 (1 December 1910): 9–10.

In language of overblown metaphor, Pioch praises Fauré and makes some of the familiar observations about him: that he was a composer

Bibliography

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unto himself, uninfluenced by Wagner or Debussy as were so many others; that as a teacher he encouraged students to develop their own personalities—that he brought people to art itself and not to his personal view of art. 193.

——. “L’homme.” In Gabriel Fauré, 38–41. Paris: Les publications techniques et artistiques, 1946.

Describes Fauré as a civilized man, comparing him with Anatole France, and as one who grew as a person and as an artist throughout his life; cites the quality of restraint as the secret of Fauré’s genius, making the familiar reference to the culture of ancient Greece; characterizes Fauré as “charme et force…charme puissant, force exquise” and as having a “cordiale et pacifique grandeur.” 194.

Pistone, Danièle. “Le ‘Second Romantisme’ (1860–1918): I. Généralités—Musique française.” Chapter 12, § I in Précis de musicologie, revised edition, edited by Jacques Chailley, 293–311.

The section on Fauré reduced from the first edition (see item 168) to a paragraph bibliography. 195.

Saint-Saëns, Camille. “Les hommes du jour: Gabriel Fauré.” L’éclair, 23 December 1893, 2.

The editor of L’éclair has taken the performance of the Requiem the previous day (in a ceremony at the Madeleine commemorating the death of Louis XVI) as an occasion for “une notice biographique” by SaintSaëns. Saint-Saëns refers to the delicacy, profundity, subtlety, and the “essentially musical” character of Fauré’s compositions; describes Fauré’s preference for vocal and chamber music over orchestral composition and mentions Fauré’s winning of the Chartier prize for chamber music; describes Fauré as an organist and pianist of the first rank. 196.

Samazeuilh, Gustave. “L’amitié de Gabriel Fauré et de Vincent d’Indy.” Mercure de France 327, no. 116 (1 August 1956): 755–59.

By citation of a number of letters from d’Indy to Fauré, the author seeks to dismiss the notion that the two composers were ever anything but close friends.

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197.

Séré, Octave [Maire Octave Géraud Jean Poueigh]. “Gabriel Fauré.” In Musiciens français d’aujourd’hui, 182–98. Paris: Mercure de France, 1911.

A biographical sketch and mention of some of Fauré’s compositions; the author notes that Fauré’s reputation has grown steadily in spite of his never having written for the stage; the remainder of the article quotes articles on Fauré by a number of other authors. Includes a facsimile of part of the manuscript for “Le parfum impérissable,” a list of works, bibliography, and an iconography. 198.

Servières, Georges. “Compositeurs modernes—Gabriel Fauré.” Revue pour les jeunes filles, 5 April 1898, 270–82.

Includes a biographical sketch, a description of various compositions beginning with those for the stage and continuing with those “plus appropriées à ses [Fauré] dons naturels,” meaning chamber, piano, and vocal works; finds the Requiem almost pagan; believes that Fauré’s true originality resides in his melodies. The most interesting facet of the article is Servières’s speculation about the works of Fauré’s maturity yet to come: he hypothesizes “une noble simplicité” and “la beauté sereine des grandes œuvres définitives.” 199.

Symes, R.D. “An Introduction to Gabriel Fauré.” Musical Mirror and Fanfare, September 1932, 161–63.

A superficial biographical sketch (with a number of errors of fact) and overview of Fauré’s output; begins by dividing nationalist composers into two groups: those whose works show a pronounced folk element and those, like Fauré, whose personal styles embody characteristics of their cultures, rendering their works difficult for foreigners to understand. 200.

Torchet, Julien. “La vie de Gabriel Fauré.” Musica 77 (February 1909): 27–28.

What is most interesting about this short biography is Torchet’s suggestion that Fauré was no more talented as a child than many other children and that had his father chosen a different education for him, he would never have made a great impression in music; also says that the Requiem expresses “non la colère celeste, main la bonté de Dieu et son ineffable indulgence” as does Brahms’s Ein deutsches Requiem.

Bibliography 201.

167

Ulpmen, Noé Mac. “Gabriel Fauré.” Gaceta musical, September 1928, 35–35. In Spanish.

Subtitled a “short biography,” these few paragraphs include the basic facts of Fauré’s life, a list of his pupils, quotations from Carraud and Vuillermoz, and the comment that Fauré’s style—marked by elegance, clarity, and balance—makes him the most French of all composers. 202.

Wiéner, Jean. Allegro appassionato. Paris: Pierre Belfond, 1978. 222pp. ISBN 2-7144-1142-8

Wiéner, a twentieth-century pianist and composer, recounts how as a youth he was introduced to Fauré and remembers what a profound effect subsequent conversations with the older musician had on him (16f). Obituaries and tributes at the time of Fauré’s death Articles which are anonymous or which include writing by more than one author are listed alphabetically by newspaper or periodical; larger articles follow alphabetically by author. 203.

Various. “Gabriel Fauré est mort.” Comœdia, 5 November 1924, 1.

Includes a tribute by Raymond Charpentier, a longer article—“Sa vie, son œuvre”—by Jean Gandrey-Rety, and an anonymous column giving the facts of Fauré’s death and announcing that funeral arrangements were incomplete. 204.

Anon. “Les obsèques de Gabriel Fauré comme le demandait hier Comœdia auront lieu aux frais de l’Etat.” Comœdia, 6 November 1924, 1.

A report that lobbying by various groups and individuals persuaded the government to honor Fauré with a state funeral. 205.

Various. “Dernier hommage à Gabriel Fauré.” Comœdia, 8 November 1924, 1–2.

Brief tributes to Fauré by Charles-Marie Widor, Georges Hue, Vincent d’Indy, Alfred Bruneau, Paul Dukas, Gabriel Pierné, Eugène Gigout,

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Paul Vidal, Sylvio Lazzari, Albert Roussel, Louis Aubert, RogerDucasse, Gabriel Grovlez, Eugène Cools, Nadia Boulanger,20 and Louis Vuillemin; an announcement of the funeral listing the musical program and the speakers follows. 206.

Anon. “Les funérailles de Gabriel Fauré.” Comœdia, 9 November 1924, 1–2.

An account of the funeral which lists the musical program and reproduces the speeches of Henri Rabaud, director of the Conservatoire,21 Adolphe Boschot, François Albert, minister of public education and the fine arts, and Henri Heurtel; also lists a great number of the mourners.22 207.

Anon. “Les obsèques du maître Gabriel Fauré….” Excelsior, 9 November 1924, 1, 4.

The front page presents two photographs of the ceremonies; the text reports the details of the funeral and quotes from the speeches delivered by Henri Rabaud and François Albert. 208.

Various. “Gabriel Fauré.” Le figaro, 5 November 1924, 1.

Includes an announcement of Fauré’s death in the form of a tribute from André Messager; and from P.-B. Gheusi, a rather lurid description of the deathbed scene, a prediction of future renown for Fauré’s compositions, and an account of his career. 209.

Anon. “Les revues et la presse: La mort de Gabriel Fauré.” La revue musicale 6, no. 2 (1 December 1924): 186–88.

Quotes obituary tributes by Vuillermoz (item 242), Lindenlaub (item 228), H.Malherbe (item 229), and Maurice Brillant (an article in La vie catholique surveying Fauré’s religious music) but deplores that some newspapers have confused Fauré’s Pelléas with that of Debussy and have apparently forgotten that Pénélope exists; also quoted from Le gaulois of 9 November is an anecdote about a satirical cantata Fauré wrote while a student. 210.

Anon. “Les funérailles de Gabriel Fauré.” Le temps, 9 November 1924, 6.

A detailed description of the funeral ceremonies together with the texts of the tributes spoken by Henri Rabaud, director of the

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Conservatoire, and François Albert, minister of public education and the fine arts. 211.

Auric, Georges. “Gabriel Fauré.” La revue musicale 6, no. 2(1 December 1924): 100–3.

A tribute which praises Fauré’s restraint, delicacy, and originality and which predicts that Fauré will eventually be appreciated as a model for younger composers. 212.

Bex, Maurice. “Gabriel Fauré.” Revue hebdomadaire, 15 November 1924, 351.

Begins by affirming Fauré’s greatness which he says must continue to be emphasized lest, the funeral over, Fauré be forgotten; calls Fauré an innovator who appeared to be a classicist (“Il a bouleversé l’harmonie.”); remembers him as charming, modest, eternally youthful—and, as one who respected the past and encouraged the young to do so. 213.

Boschot, Adolphe. “Mort de Gabriel Fauré”23 and “Fauré, et le sens de la beauté.” In Chez les musiciens (Du XVIIIe siècle à nos jours): Troisième série, 137–46. Paris: Plon, 1926.24

In the first tribute, Boschot characterizes Fauré’s music in familiar fashion as pure, charming, subtle, and original; but also acknowledges the influence on Fauré of Mozart, Schumann, Chopin, Saint-Saëns, and Gounod; predicts that, like Chopin, Fauré will come to be widely appreciated. The second article is drawn from an oration delivered by Boschot, representing L’Association de la critique dramatique et musicale, at Fauré’s funeral; suggests that Fauré revealed in his critical writing that he was animated principally by a love of beauty (so defined as to encompass works of various periods and styles rather than be limited by the judgments of the moment); notes that Fauré was almost alone in not being influenced by Wagner because, Boschot maintains, he was true to a larger, classically Hellenic tradition: “…il fut un des impeccables artistes qui honorent et enrichissent la triple tradition grecque, latine et française.” 214.

——. “Figures de musiciens: Gabriel Fauré.” Revue politique et littéraire: Revue bleue 62, no. 2325 (6 December 1924): 808–9.

Boschot sketches Fauré’s output as a composer but pointedly omits mention of a number of the late chamber works; the remainder of the tribute is drawn verbatim from the two parts of item 213.

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215.

Brussel, Robert. “Gabriel Fauré.” Le figaro (Literary Supplement), 8 November 1924, 1.

Brussel begins by describing Fauré’s compositions as the expression of their creator—that the virtues of one were those of the other; maintains that the grandeur of Fauré’s art is founded in his melodic writing which itself generates the harmony which complements it; underscores the idea that the delicate and apparently light character of much of Fauré’s music disguises real depth of thought and feeling; like Gheusi (item 258), predicts greater fame, in time, for Fauré’s music. 216.

Calvocoressi, Michel D. “Gabriel Fauré.” Musical Times 65, no. 982 (1 December 1924): 1134.

Errs in both Fauré’s birth date and the date of his death; characterizes him as a “pioneer of the modern musical renaissance in France” whose influence, fuelled by his perpetual youthfulness, continued through his teaching; wonders why his music has been so little appreciated outside France. 217.

Chantavoine, Jean. “Gabriel Fauré.” Le ménestrel 86, no. 46 (14 November 1924): 469–70.

Discusses Fauré’s education (exposure to plainchant and modality) and the evolution of his style (Chantavoine venturing here a criticism of the piano works), Fauré’s ability to set a text, the influence Fauré and Debussy had on each other, and Fauré’s importance for “la musique pure,” equal to Massenet’s for theater music. Chantavoine clearly values Fauré’s middle-period compositions more than the late works. 218.

Cœuroy, André. “La musique: Gabriel Fauré.” Revue universelle, 1 December 1924, 631–33.

Cœuroy’s view of Fauré’s place in music history as articulated in item 222. 219.

——. “Gabriel Fauré.” Die Musik 17, no. 4 (January 1925): 263–69.

For the most part, identical to item 222 with a slightly expanded (and more colorful) treatment of Fauré’s position in the history of French music.

Bibliography 220.

171

——. “Gabriel Fauré.” Muzika [Riga], January 1925.

Not found as cited—periodical not verified. 221.

——. “Paryz°: Nowe opery i balety—Smierc Fauré’ go.” Muzyka [Warsaw] 1, no. 2 (December 1924): 82–86.

In the section of the column devoted to Fauré’s death, Cœuroy again characterizes Fauré as the quintessentially French composer, as the only composer of his generation not to be influenced by Wagner or the German symphonists, as the bridge between classicism (the Renaissance and the French clavecinists) and modernity in French music—and this, twenty years before Debussy. 222.

——. “Gabriel Fauré.” Larousse mensuel 216 (February 1925): 695–96.

An overview of Fauré’s life and works in the form of a short encyclopedia article; most interesting is Cœuroy’s view of Fauré’s place in music history, especially of his influence on later composers: “…moins rapide que celle de Debussy, [mais] sans doute plus profonde et plus durable.” 223.

——. “Gabriel Fauré.” The Sackbut 5, no. 8 (March 1925): 235–39.

An English version of item 219. 224.

Davenay, G. “Les obsèques nationales de Gabriel Fauré.” Le figaro, 9 November 1924, 1–2.

A description of the funeral service different from other reports only in the curiously ironic tone which the author uses here and there; followed by excerpts from the speeches given by Henri Rabaud, François Albert, and André Messager. 225.

Dukas, Paul. “Adieu à Gabriel Fauré.” La revue musicale 6, no. 2 (1 December 1924): 97–99. Reprinted in Les écrits de Paul Dukas sur la musique, 682–84. Paris: Société d’éditions françaises et internationales, 1948.

An emotional farewell to Fauré; does not discuss the music except to suggest that Fauré created innovation while working within the limits of

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a traditional musical language; maintains that the charm and modesty of the music are reflections of the composer himself. 226.

Dumesnil, René. “Gabriel Fauré.” In Portraits de musiciens français, 77–98. Paris: Plon, 1938.

An obituary tribute dated 4 November 1924; Fauré was among those composers (“Avec Debussy et avant Debussy….”) who restored French music to the glory it had known in the time of Rameau. Dumesnil explains every aspect of Fauré’s music (including even so-called modal usages) by reference to two central ideas: that Fauré is Hellenic in spirit and in musical style (the more so as his career continued) and that he is much like Mozart. 227.

Indy, Vincent d’. “Gabriel Fauré.” Tablettes de la Schola, No vember 1924, 2–3.

Eulogy read by d’Indy in the name of the Société nationale at Fauré’s funeral; credits Fauré, who always wanted his own chamber music to have its first performance with the S.N., with the blooming of chamber music in France; describes Fauré’s personal and musical charm (which, d’Indy believes, modern German music lacks); attributes Fauré’s personal style—unmistakably his own—to his respect for his heritage and his refusal early in his career to seek out originality for its own sake. 228.

Lindenlaub, Th. “Mort de Gabriel Fauré.” Le temps, 5 November 1924, 3.

Extols Fauré’s music, particularly the late works; credits him with innovation and enrichment of “le langage harmonique”; explains how “le Schumann français” is actually different from the German composer describing Fauré as “[le] plus net artiste français depuis Rameau.” The tribute is followed by the editor’s brief biographical sketch of Fauré. 229.

Malherbe, Henry. “Chronique musicale: Gabriel Fauré.” Le temps, 6 November 1924, 3.

Links Fauré’s death with that of Anatole France a few days before by saying that the two events marked the end of a glorious era of French culture; quotes Fauré’s modest opinion of himself and his views of a number of other composers; lists a number of Fauré’s important works; describes his style using the terms “divine simplicity” and “an

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originality full of surprises”; mentions that as Debussy was the master of ninth chords, so Fauré was of seventh chords; credits Fauré with defending the French musical language against “le faux esprit et le mauvais goût.” 230.

Mangeot, André. “Gabriel Fauré.” Le monde musical nos. 21–22 (November 1924): 359–62.26

Praises Fauré as composer but contends that he was not entirely a success as director of the Conservatoire because he was too good and too indulgent to be an effective administrator; considers Pénélope to be the “seule grande œuvre” of the period 1905–1920. 231.

Marcel, Gabriel. “Le courrier de Paris—la musique: Gabriel Fauré.” L’Europe nouvelle 7, no. 351 (8 November 1924): 1501.

Calls Fauré the greatest among musicians but asserts that those who know only the early works will not understand why Fauré is so revered; finds Fauré’s “secret” in the Second Violin Sonata and in the Quintettes. 232.

Marnold, Jean. “Revue de la quinzaine—musique: Gabriel Fauré….” Le mercure de France, 1 December 1924, 499–503.

Outlines Fauré’s education and career and praises the composer’s modesty; notes that Fauré’s originality was so strong that he alone of his time escaped the influences of Beethoven, Wagner, and Debussy; nonetheless, characterizes Fauré as a composer who linked the past with the modern era and hints that impressionism owed a debt to him; praises Pénélope as his masterpiece. Marnold also mentions certain technical aspects of Fauré’s style and wonders why the training of the Niedermeyer school which produced a hint of modality in his compositions did not do so in the music of Messager. 233.

Roland-Manuel [Roland Manuel Alexis Lévy]. “L’héritage de Gabriel Fauré.” Revue Pleyel 14 (November 1924): 20–21.

Describes Fauré as the incarnation of “une tendance sensualiste” which is specifically French; notes that he imitated neither Wagner on the one hand nor Franck on the other; describes his style as simple without being dry or austere. Much of the article is a reactionary lament deploring both the

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violence of modern music (including twelve-tone music) and the desire of young musicians to imitate Stravinsky and Satie. 234.

Rothwell, Fred. “Gabriel Fauré.” Musical Opinion 48, no. 567 (December 1924): 280–81.

An obituary notice which describes Fauré as a composer both loved and admired. Rothwell traces Fauré’s roots to Mozart and Schumann, Chopin and Gounod yet grants “his own peculiar genius”; predicts that Fauré’s reputation will grow “throughout the civilized world.” 235.

Samazeuilh, Gustave. “Gabriel Fauré.” Revue Pleyel 14 (November 1924): 16–17.

Lavish praise for Fauré as man and as composer. 236.

——. “La leçon de l’art de Gabriel Fauré.” In Musiciens de mon temps: Chroniques et souvenirs, 56–59. Paris: Marcel Daubin, 1947.

Originally published in 1925, this short article duplicates much of item 235. The book also includes a list of transcriptions made by the author of Fauré’s music (419–24). 237.

Schmitt, Florent. “Gabriel Fauré.” Chesterian 6, no. 43 (December 1924): 73–78.

Begins with a biographical sketch which, drawing on phrases from item 866, emphasizes the difficulties Fauré had in establishing himself early in his career; praises his kindness towards his students; characterizes his compositions, together with those of Debussy, as reestablishing a French tradition in France and implies that of the two, Fauré is the greater composer. 238.

——. “Les arts et la vie—la musique: Sur Gabriel Fauré…. ”La revue de France 5 (1 January 1925): 158–65.

The French version of item 237; adds a quotation from Louis Aguettant concerning the essentially French character of Fauré’s art which makes it “impenetrable” to foreigners. 239.

——. “Les concerts—… L’œuvre de Gabriel Fauré….” Le temps, 21 November 1931, 3.

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Passages drawn from items 866 and 238. 240.

——. “Un jugement de Florent Schmitt sur Gabriel Fauré.” L’éducation musicale 9, no. 9 (June 1954): 3.

Passages from item 239 as quoted, not entirely accurately, in Yves Hucher’s Florent Schmitt, I’homme et I’artiste, son époque et son œuvre (Paris: Plon, 1953). 241.

Vandérem, Fernand. “Choses et gens de lettres: Un allié.” Lefigaro (Literary Supplement), 8 November 1924, 1.

Credits Fauré’s setting of Verlaine with bringing that poet’s work to public attention—for this, the author mourns an ally. 242.

Vuillermoz, Émile. “M.Gabriel Fauré le plus grand musicien d’aujourd’hui vient de mourir.” Excelsior, 5 November 1924, 1.

Vuillermoz’s article includes the biographical sketch and list of compositions expected in an obituary but also makes a number of points: that Fauré was loved as well as respected; that the essential Fauré is to be found in his songs; that his success as a teacher can be measured in his students’ diversity as composers. He also includes Fauré’s music as part of “la musique moderne” and observes that his stylistic innovations and harmonic vocabulary went beyond that of “nos révolutionnaires officiels.” 243.

——. “Gabriel Fauré.” Revue rhénane 5, no. 3 (December 1924): 152–53. In German.

Although not a translation of item 242, expresses the same ideas. 244.

Wieniawski, Adam. “Gabrjel Fauré.” Muzyka (Warsaw) 1, no. 1 (November 1924): 17–20.

The author calls Fauré the creator of French song, comparable to Schubert and Schumann in Germany; considers him a greater composer than Duparc or Chausson and the heir to the classical French composers, Couperin, Rameau, and Lully. Wieniawski also treats Fauré’s music in other genres: he apologizes a bit for the orchestral works, casts the chamber music in the role of foundation for works by other composers, and suggests that Pénélope would have had greater impact if it had

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appeared before Debussy’s Pelléas. Wieniawski, who travelled to Russia with Fauré, is surprised that Polish musicians neglect the music of Fauré but perform the works of his pupils; discusses Fauré as a teacher who was concerned primarily with proportion and taste, as an organist who played less well than Widor or Guilmant but could improvise well, and as a pianist whose playing was rather dry; mentions Fauré’s position as director of the Conservatoire but suggests that Fauré was not gifted as an administrator. See also items 271, 366, 380. Other tributes 245.

Various. “L’hommage des musiciens à Gabriel Fauré.” Comœdia, 5 September 1927, 3.

On the occasion of the erection of a commemorative statue in Pamiers in honor of Fauré, Comœdia asked a number of musicians for their thoughts on the composer; included are tributes from Charles-Marie Widor, Jacques Rouché, Alfred Bruneau, Georges Hue, André Messager, Raoul Laparra, Paul Vidal, Alfred Cortot, Lucien Capet, and Louis Aubert. Included as well are excerpts from Kœchlin’s biography of Fauré (item 92) and Pierre Maudru’s article on Pénélope (item 1060). 246.

Various. “Centenaire Gabriel Fauré.” Unpublished booklet, [1945].27

Compiled “au profit des élèves du Conservatoire prisonniers et déportés”; includes a two-page “Hommage à Gabriel Fauré” by Claude Delvincourt, director of the Conservatoire, announcement of programs of concerts of various works including Pénélope by a number of performers such as Marguerite Long and Charles Münch, a brief discography, a facsimile of the first page of the finale the First Piano Quartet Op. 15, and pictures. 247.

Aguettant, Louis. “Gabriel Fauré.” La vie intellectuelle 1 (November 1949): 388–97.28

A panegyric which traces Fauré’s compositional output; and describes his style in familiar fashion as being charming, Attic, and quintessentially French; notes that while Fauré took the works of various composers— Chopin, Schumann, Gounod, Saint-Saëns—as his starting point, his style

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is original and untouched by the influence of Wagner, Franck, or Debussy; describes him as an innovator within classic forms. 248.

——. La génie de Gabriel Fauré. Lyon: Aux deux collines, 1925. 12pp.29

Pamphlet publication of a lecture given 17 December 1924 as part of the “Hommage des Lyonnais à Gabriel Fauré”; begins by considering why Fauré is so little appreciated: listeners do not go beyond the surface charm and grace to appreciate the hidden intricacies of the music and, thus, consider Fauré only a miniaturist, a salon composer; insists, however, that Fauré’s grace is that of Rameau and Mozart; surveys Fauré’s output in stage, vocal, piano, and chamber music; concludes by likening Fauré to Rameau, Poussin, and Racine “dans le chœur sacré des purs génies français.” 249.

Boschot, Adolphe. “Hommage à Gabriel Fauré.” Unpublished lecture, 12 March 1936.

Not located. 250.

Bruneau, Alfred. La vie et les œuvres de Gabriel Fauré. Paris: Charpentier et Fasquelle, 1925. 34pp.30

A pamphlet publication of an oration before the Institut de France, Académie de Beaux-Arts; includes a tribute to the composer, a chronicle of his life, and a listing of his work noting circumstances of composition and nature of individual works; quotes at length an unidentified former student about Fauré’s pedagogy 31 ; refers to Fauré’s defense of classicism in his critical writings and his tolerance for all sincere forms of musical expression. 251.

Chantavoine, Jean. “L’hommage national à Gabriel Fauré.” Le ménestrel: 84, no. 24 (16 June 1922), 265–66.

An announcement of the act of homage to Fauré at the Sorbonne. The author describes Fauré as a composer of subtle, intimate music who has never sought fame but who has won the admiration of many; characterizes Fauré’s style as seductive, describing it in an exceptionally flowery language which does not hide some reservations about the quality of Fauré’s music; mentions the debt owed Fauré by composers such as Debussy, Ravel, and Roger-Ducasse and by the public in general for his championing of the genre of chamber music.

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252.

Croiza, Claire. “A Gabriel Fauré.” Le journal, 17 June 1922, 4.

In anticipation of the Sorbonne concert in homage to Fauré (20 June 1922), Croiza wrote this short article to underscore the appropriateness of the event “pour glorifier la magnificence de l’œuvre géniale de Fauré.” 253.

Fauré, Gabriel Auguste. “Le dernier enchanteur.” In Ames et decors romanesques, 33–41. Paris: Charpentier, 1925.

A tribute to Fauré as the greatest French musician, heir to the classical tradition; praises Fauré’s simplicity and serenity and asserts that one of his songs or piano pieces contains more “real music” than many famous pieces (meaning, large orchestral works); indicates his admiration for Pénélope (see item 254). 254.

——. “Gabriel Fauré: Naissance de Pénélope” and “Vie et mort du dernier enchanteur.” In Mes alyscamps: Maîtres & amis disparus, 149–59. Paris: Jacques Haumont, 1942.

The second essay is a reworking of the latter part of item 253 in which the author first makes the comparison of Fauré to Mozart; the essay on Pénélope, which also borrows a few phrases from item 253, speaks of the author’s contact with Fauré during the composition of the opera, his attendance at the first reading of the score, and his impressions of the music. 255.

——. “Gabriel Fauré.” L’illustration 5192 (12 September 1942): 183–84.

A reprint of the essays in item 254. 256.

——. “Quelques souvenirs sur Gabriel Fauré.” Revue historique et littéraire du Languedoc 6 (June 1945): 111–22.

Excerpts from item 90. 257.

Gavoty, Bernard. “Mon carnet de notes: Sur Fauré.” Journal musical français 131 (10 October 1964): 3.

Part of a special issue of the journal devoted to Fauré; almost a defence of the composer: asks why his music is so little admired and suggests that the answer is that it is little understood and that it demands one be a

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true musician to appreciate it; refutes disparaging comments about Fauré’s compositions by Furtwängler and von Karajan by the observation that every nation has its great composers which are revered only in their home countries (mentions Delius, Reger, and Respighi). See also items 153, 266, 710, and Appendix C. 258.

Gheusi, P.-B. “Les quatre printemps de Gabriel Fauré.” Le figaro, 12 May 1924, 1.

Written on the occasion of Fauré’s seventy-ninth birthday, this tribute mentions the youthfulness of Fauré’s late compositions, the familiar idea that Fauré’s mature style was present to some degree in his early works, and the fact that Fauré has no imitators even among his disciples; suggests that Fauré’s music, particularly the chamber music and the vocal works, does find an audience among connoisseurs; mentions Fauré’s effect on the pedagogy of the Conservatoire. 259.

Huré, Jean. “Gabriel Fauré.” In Musiciens contemporains: Premier album, 20–23. Paris: Éditions Maurice Sénart, 1923.

A decorative little book; a three-paragraph tribute to Fauré and portraits of him in woodcut. 260.

Malherbe, Henry. “Deux maîtres que j’ai connus [Fauré et Debussy].” Candide 14, no. 717 (9 December 1937): 19.

The author’s personal reminiscences of the composers; refers to Fauré’s music in familiar terms (charm, purity, etc.) and to the composer himself as the “petit professeur ariègeois.” 261.

Messager, André. “Gabriel Fauré.” Le figaro, 7 June 1922, 1.

An announcement of the National Act of Homage for Fauré to be held at the Sorbonne on 20 June. Messager characterizes Fauré as the greatest musician of the time; indicates that Fauré has waited long for recognition by the public which came not with his early works but only with his appointment as director of the Conservatoire and the premiere of Pénélope; stresses the importance of Fauré’s role as a teacher. 262.

Prunières, Henry. “Chroniques et notes…: Hommage national à Gabriel Fauré.” La revue musicale 3, no. 9 (1 July 1922): 71–72.

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A report of the National Act of Homage offered Fauré at the Sorbonne on 20 June; details the program; calls Fauré the precursor of Debussy and of “toute la jeune école française.” 263.

——. “Portraits et médallions de musiciens.” Part of Chapter 12 in Cinquante ans de musique française de 1874 à 1925, edited by Ladislas Rohozinski, 2:359–420. Paris: Librairie de France, 1925.

The small section devoted to Fauré (367–68) emphasizes his Hellenic restraint, his modesty, and his desire not for public approbation but for the approval of other musicians whom he admired; stresses Fauré’s role as a teacher; in apparent contrast to item 262, states that in spite of some harmonic innovation, Fauré was attached to the past and hardly a revolutionary. 264.

Ropartz, Guy. “Pour Gabriel Fauré.” L’étendard, 18 July 1890.

A tribute to Fauré on his being named Chevalier of the Légion d’honneur. Ropartz notes that such an award is unusual for a composer who does not write for the stage and who is not a professor of the Conservatoire; makes reference to the vocal works: “M.Fauré continuera… à souligner d’harmonies raffinées ses originales mélodies….” 265.

Stœcklin, Paul de. “Gabriel Fauré.” Courrier musical 12, no. 7 (1 April 1909): 226–27.

Praises Fauré’s election to the Institut; describes Fauré as a composer of intimacy (comparing him in this way to Mozart) for the elite; asserts that Fauré’s art springs from the twin sources of nature and sensuality, mentioning in comparison Watteau and, again, Mozart; maintains that the “lied français” would not exist but for Fauré. 266.

Vuillermoz, Émile. “[Memoir].” Journal musical français 131 (10 October 1964): 2.32

Part of a special issue of the journal devoted to Fauré; a reminiscence which concentrates on the debt owed by modern music to Fauré, “un mécène de l’harmonie.” See also items 153, 257, 710, and Appendix C.

Bibliography 267.

181

Widor, Charles-Marie. “M.Gabriel Fauré, membre de l’Institut.” Comœdia illustré 1, no. 7 (1 April 1909): 202–3.

One of a pair of small articles (see also item 11) which Fauré and Widor wrote about each other after Fauré’s narrow defeat of Widor for membership in L’lnstitut de France. Widor praises Fauré and his music throughout, but the tone of the piece gives the reader reason to suspect his sincerity. Fauré and the Niedermeyer School 33 268.

Boëllmann-Gigout, Marie-Louise. “L’École de musique classique et religieuse. Ses maîtres, ses élèves.” In Histoire de la musique. Vol. 2, Du XVIIIe siècle à nos jours, edited by RolandManuel, 841–66.34 Encyclopédie de la Pléiade, no. 16. Paris: Gallimard, 1963.

This article by the great-granddaughter of Louis Niedermeyer is divided into sections discussing the life and career of Niedermeyer, the history of the Niedermeyer School, its graduates, Niedermeyer’s treatise on the accompaniment of plainsong,35 and Gustave Lefèvre and his harmony treatise36; the section on Fauré (857–66) includes a brief overview of his life and significant compositions. 269.

Dumesnil, René. “L’enseignement.” Chapter 8 in Cinquante ans de musique française de 1874 à 1925, edited by Ladislas Rohozinski, 2:175–226. Paris: Librairie de France, 1925.

Devotes a section of the chapter (208–12) to a history of the Niedermeyer school; useful for the list of alumni. 270.

Galerne, Maurice. L’École Niedermeyer: Sa création, son but, son développement. Paris: Éditions Margueritat, 1928. 93pp.

A straightforward history of the school with concentration on the lives and careers of its directors, Niedermeyer, Lefèvre, and Heurtel. 271.

Gigout, Eugène. “Gabriel Fauré à l’École Niedermeyer.” Le courrier musical, 15 November 1924, 540f.

Gigout reminisces about his friendship with Fauré which began when both were students; remembers their breaking curfew to hear

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Gounod’s Faust and dreaming of their careers as organists in Paris churches. 272.

Lefèvre, Gustave, and Mme Veuve Henri Heurtel. “L’École de Musique Classique Niedermeyer.” In Part 2 of Encyclopédie de la musique et dictionnaire du Conservatoire, 3617–21. Paris: Delagrave, 1913–31.

A history of the school and a description of its program through the 1920s; lists faculty from different periods; discusses the career of Lefèvre who was the school’s director for forty-five years. 273.

Niedermeyer, Louis. “École de musique religieuse de Paris— Rapport annuel.” La maîtrise 1, no. 12 (15 March 1858): cols. 178–80.

Niedermeyer’s report to the minister: speaks of student placement, describes the program, and says that the “études littéraires” were not so successful as had been hoped; dated, Paris, 31 January 1858. 274.

Niedermeyer, [Louis] Alfred. Louis Niedermeyer, son œuvre et son école. Paris: E.Repos, 1867. 32 columns.37

Niedermeyer’s son composed this account of his father’s career as a tribute; includes a sketch of Niedermeyer’s life and works; recounts the founding of the school and describes its curriculum. 275.

——. Vie d’un compositeur moderne, 1802–1861. Fontainebleau: E.Bourges, 1892. 176pp.

A biography written by the composer’s son; references to the school are contained in the last chapter; includes a list of Niedermeyer’s compositions and notes on the Niedermeyer family as well as on the families of Niedermeyer’s mother and wife. 276.

Saint-Saëns, Camille. “Louis Niedermeyer.” La nouvelle maîtrise 3, no. 19 (12 June 1902): 41–42.

Part of an issue which observes the centenary of Louis Niedermeyer.38 Saint-Saëns credits Niedermeyer, the composer, with moving away from the antiquated romance to the mélodie and thereby paving the way for Gounod; rehearses, too, Niedermeyer’s founding of his school. See also item 42.

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Fauré, the organ, and the Madeleine 277.

Burg, Josef. “Notizen zu der französische Ausgaben der Orgelwerke von J.S.Bach und ihrer Geschichte.” Part 1, Ars organi 34, no. 4 (December 1986): 211–17; Part 2, same journal 35, no. 1 (March 1987): 22–27.

An account of various French editions of Bach’s organ works including that by Fauré (subsequently reedited by Bonnet); characterizes Fauré’s preface (item 2) as short and not particularly important; examines suggestions for registration made by Fauré and Bonnet. 278.

Grétry, Félicien. “La maîtrise de la Madeleine.” Musica 1, no. 4 (January 1903): 62.

A short account of the choir school of the Madeleine; barely mentions Fauré, but the item is cited here because it is included in other checklists. 279.

Ménil, François de. “Nos grands organists.” Musica 1, no. 4 (January 1903): 56–58.

Brief portraits in extravagant language of Widor, Georges, Guilmant, Périlhou, Gigout, Vierne, and Fauré; hears in Fauré’s improvisations harmonic traces of La bonne chanson, the Requiem, and Prométhée; describes Fauré as “le poète de l’orgue.” 280.

Mignan, Edouard, L.Raffin, and Jean de Valois. Les grandes orgues de la Madeleine et ses organistes. Paris: Éditions Alsatia, 1958. 38pp.

More about the instrument than its various titulaires; of Fauré, only a brief paragraph including mention of his various sacred works; includes a facsimile of the last page of Fauré’s setting of “Il est né le divin enfant” (Bibliothèque Nationale MS 17718). 281.

Ochse, Orpha. Organists and Organ Playing in NineteenthCentury France and Belgium. Bloomington: Indiana University Press, 1994. xiii, 271pp. ISBN 0-253-34161-2

As might be expected given Fauré’s lack of interest in the organ, there is little mention of him here, but reference is made to his great ability at improvisation, attributed in part to the example of Saint-Saëns.

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282.

Smith, Rollin. “Gabriel Fauré Organist.” The American Organist 13, no. 6 (1979): 41–42.

Details Fauré’s career as organist and mentions his relationships with Widor and Vierne. 283.

——. Saint-Saëns and the Organ. Stuyvesant, New York: Pendragon Press, 1992. xviii, 352pp. ISBN 0-945193-14-9

Appendix C lists the prizewinners at the Niedermeyer school from 1859 through 1865; appendix E includes the specifications of the organ of the Madeleine. Fauré and the Conservatoire 284.

Anon. “Dernière heure: Les réformes au Conservatoire.” Le temps, 8 October 1905, 1.

Reports that M.Dujardin-Beaumetz, the undersecretary of state responsible for the Conservatoire, refused to see a delegation of instructors upset at being excluded from admission juries and replied to their objections by a letter reaffirming the new policy. 285.

Anon. “Au Conservatoire.” La liberté, 10 November 1905, 1.

Reports further curricular reforms dealing with classes in voice, violin, and chamber music. See also item 306. 286.

Anon. “Au Conservatoire.” Le temps, 21 November 1905, 1.

An editorial demanding that women be appointed to teach the two new classes in voice at the Conservatoire. 287.

Bing, [?]. “Tête de turc: M.Gabriel Fauré.” Fantasio: Magazine gai 5, no. 97 (1 August 1910): 16–17.

Short column concerning Fauré as director who must deal with perpetual demands for reform of the institution; summarizes Fauré’s career by interspersing anecdote with mention of important works; maintains that Fauré was a radical when young (although seems to base his opinion on the fact that Fauré was not a product of the Conservatoire and did not compete for the Prix de Rome) who became a nationalist when older; describes Fauré as an independent and offers further

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anecdotes of him as a teacher who was much involved with his students; reproduces the caricature of Fauré as an angel. 288.

Bres, Sophie. “Le scandale Ravel de 1905.” Revue internationale de la musique française 14 (June 1984): 41–50.

A history of events surrounding Ravel’s failure to win the Prix de Rome, Dubois’s resignation as director of the Conservatoire, and Fauré’s appointment to the post. The thesis of the article is that the notion of a scandal fired by an indignant press is overblown; further, the exact circumstances surrounding Dubois’s departure are uncertain: there are indications that he intended to retire in any case, but it may be that the Ravel affair helped Fauré become director over Lenepveu. 289.

Bruneau, Alfred. “La direction du Conservatoire.” Le matin, 13 June 1905, 2.

Praises Fauré as a composer (“une force singulière unie à une charme extrême”) whose music is like none other. Perhaps to counter criticism that the newly appointed director is known neither as an opera composer nor an alumnus of the Conservatoire, Bruneau describes Fauré as a composer with natural gifts for the theater (citing Prométhée and Pelléas et Mélisande) and as a musician outside musical politics; notes that Secretary General Fernand Bourgeat is to have greater administrative responsibilities so as to free time for Fauré for composition. 290.

Carraud, Gaston. “Pour le Conservatoire.” Le mercure musical 1, no. 5 (15 July 1905): 193–200.

Carraud argues against turning the annual concours into, effectively, a public concert in the Opéra-Comique, against these examinations’ being public events reviewed by the press, indeed against the concours system itself which he views as perverting the goals of a student’s education; hopes that Fauré, as new director, will want to bring change to the Conservatoire and that he will be given enough power to do so. 291.

Combarieu, J. “M.Gabriel Fauré et la direction du Conservatoire.” La revue musicale 5, no. 13 (1 July 1905): 351.

Condescending in tone throughout, this article begins by condemning Fauré the composer with faint praise and continues by asserting that the

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role of the director of the Conservatoire is not to institute reforms but to maintain tradition, to see to administration, and—above all—to leave educational decisions to the instructors; describes Dubois as the ideal director whose example Fauré should follow. 292.

Germain, Auguste. “Les réformes du Conservatoire….” L’echo de Paris, 7 October 1905, 1.

Reports the same events as item 284 but in addition ridicules the notion expressed by one of the instructors that the matter should be appealed to the president of the Republic. 293.

Lalo, Pierre. “La musique: … Le nouveau directeur du Conservatoire.” Le temps, 20 June 1905, 3.

Praises the choice of Fauré as director of the Conservatoire first because of Fauré’s stature as a musician and second because the appointment of a composer who is not “un ‘homme de théâtre’” but who rather interests himself in “la musique pure” will have a beneficial effect on the institution and its students. 294.

——. “La musique: Le concours du Prix de Rome en 1905….” Le temps, 11 July 1905, 3.

Examines details of the procedures of the Académie des BeauxArts in judging applicants for the Prix de Rome and of the academic politics bound up with them in an effort to explain how the “scandale Ravel” could have happened. Because of his previous harsh criticism of Ravel’s music, Lalo feels he is in a position to present a disinterested protest of what he views as outrageous treatment of Ravel by the Institut. 295.

——. “La musique: Les réformes du Conservatoire… Les premiers actes de M.Gabriel Fauré.” Le temps, 22 August 1905, 3.

Applauds the first reforms made by Fauré to the curriculum of the Conservatoire which, for Lalo, has too long taught technique at the expense of art. The importance of music history, of analysis, and of counterpoint have been strengthened; the teaching of singing has been completely reformed—ear training, vocal technique, and repertoire other than opera are to be no longer neglected.

Bibliography 296.

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——. “La musique: Au Conservatoire—La grande révolte des professeurs….” Le temps, 17 October 1905, 3.

Lalo recounts the protests raised by instructors of the Conservatoire against the first reforms initiated by Fauré; reserving his harshest criticism for the voice instructors, characterizes most of the protestors as incompetents who are more functionaries than musicians; notes that they have not objected to the truly educational reforms but only to being no longer permitted to sit on admissions juries, a privilege which had allowed the corrupt among them an illicit extra income by requiring paid private “lessons” of applicants to the Conservatoire in exchange for consideration for entry to the institution. 297.

——. “La musique: … La musique du passé celle de l’avenir au Conservatoire.” Le temps, 21 November 1905, 3.

Lalo treats Théodore Dubois’s statement that Fauré’s initial reforms to the curriculum of the Conservatoire were making the institution “le temple de la musique de l’avenir” at the expense of music of the past. He counters Dubois’s accusation with the observation that the reforms— which require the existing course in music history, add required courses in counterpoint, and force first-year voice students to learn technique by singing classical repertoire—could hardly be seen as anything but strengthening the presence of the music of the past in the curriculum; Lalo is also entertainingly blunt in expressing his opinion of Dubois. 298.

——. “La musique: L’exercice des élèves au Conservatoire….” Le temps, 27 April 1906, 3.

Lalo takes the success of a student concert as a measure of the effect Fauré’s reforms have had on the Conservatoire: no longer is such an event an occasion for a superficial display of individual students’ musical strengths—rather, it is now evidence that students are learning to make music together as well as to realize that the art of music is more important than individual glory; also notes that Fauré invited Charles Bordes of the rival Schola Cantorum to final rehearsals for the conceit. 299.

——. “La musique: Renouvellement des pouvoirs du directeur du Conservatoire….” Le temps, 9 August 1910, 3.

An announcement of Fauré’s reappointment as director of the Conservatoire and a rehearsal of his accomplishments in that position. Lalo

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repeats his favorite ideas from other articles (and, indeed, passages from items 293 and 295) and suggests further reforms such as regularizing the employment of instructors and closing the various concours to the public; for the first time, admits that the problems with vocal instruction at the Conservatoire are not unique to that institution and reflect a lack of qualified instructors “dans le monde entier”; also chides the government for insufficient funding of the Conservatoire and its programs. 300.

——. “La musique: L’affaire du Conservatoire—l’incident du concours de tragédie—les reformes proposées….” Le temps, 13 August 1910, 3.

Following a dispute over the awarding of prizes in drama and declamation, one juror proposed a new hierarchy of prizes as well as the separation of the musical and dramatic sections of the Conservatoire with “un homme de lettres” as director of the latter; Lalo high-handedly dismisses both suggestions. 301.

——,39 “Au jour le jour: La réforme du Conservatoire.” Le temps, 2 October 1915, 3.

A report of reforms made in the administration and curriculum of the Conservatoire: students are henceforth forbidden to accept outside employment; concours will not be open to the public; instructors regain their right to sit on admissions juries; new instructors will be hired on probation for two years; the study of solfège becomes obligatory for instrumentalists; further reforms are made in vocal instruction; piano classes become co-educational; an advanced “prix d’honneur” is established for piano and violin. Numerous other policies are also enacted. 302.

——. “La musique: Après les concours du Conservatoire… les débuts du nouveau directeur—la direction de M.Fauré….” Le temps, 9 August 1921, 3.

In the course of reporting, in general, the results of the first concours since Fauré’s retirement as director of the Conservatoire, Lalo takes the opportunity to review Fauré’s accomplishments in that position; praises Fauré’s musical ideas and taste, his curricular ideals and the importance he attached to teaching, and the force of his character and personality. Lalo also once again attacks Fauré’s predecessors; Dubois escapes his criticism this time, but Cherubini, Auber, and

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Thomas—whom Lalo describes as “l’un des plus pitoyables compositeurs de France”—do not. 303.

Laloy, Louis. “Revue de la quinzaine—au Conservatoire: Le concours de Rome—une revision nécessaire.” Le mercure musical 1, no. 2 (1 June 1905): 85.

Protests the rules of the Institut which permitted Lenepveu to be a member of the jury for the prix de Rome, a position from which he was able to favor his own pupils at the expense Ravel and Fleury, pupils of Fauré and Widor, respectively. 304.

——. “Revue de la quinzaine: Les réformes du Conservatoire.” Le mercure musical 1, no. 11 (15 October 1905): 451–53.

Argues for greater power for the director of the Conservatoire in the hiring of instructors to avoid the political patronage which has been part of the process; while objecting to a few appointments to the governing council, applauds its expansion to include more musicians; hopes that the new administration will be stricter with instructors who neglect their responsibilities. 305.

Mangeot, André. “M.Gabriel Fauré: Directeur du Conservatoire” Le monde musical 23, no. 13 (15 July 1911): 203.

Views the Conservatoire as only a “lycée” and the position of its director as a that figurehead who can have no real effect on improving music education; does not believe that the position requires someone of Fauré’s stature and clearly feels that Fauré should spend his time composing rather than wasting it by attending to bureaucratic duties like the annual entrance examinations and juries.40 306.

Marchès, Léo. “Les incidents du Conservatoire.” La liberté, 10 November 1905, 1.

Reports the resignations of Saint-Saëns and Dubois from the governing council of the Conservatoire; interviews Dubois who gives as his reason for resigning the elevation of his enemy, Pierre Lalo, to the council; attempts to obtain a response to Dubois’s comments from Fauré but must be content with quoting an unnamed associate. See also item 285.

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307.

Marnold, Jean. “Echos: Au Conservatoire.” Le mercure musical 1, no. 4 (1 July 1905): 184–85.

A light-hearted paragraph which spoofs the speculation about who would replace Dubois as director of the Conservatoire. 308.

——. “Revue de la quinzaine: Conservatoriana.” Le mercure musical 1, no. 10 (1 October 1905): 396–402.

In contrast to item 307,41 a passionate and outspoken criticism of the curriculum and administration of the Conservatoire and discussion of what Marnold views as necessary reforms; praises Fauré’s appointment as director. 309.

Mauclair, Camille. [Article on musical factions?]. La revue, 15 November 1907.

Cited in Goubault42: “Camille Mauclair se perd au milieu des étiquettes: le Conservatoire avec Gabriel Fauré, la Schola Cantorum, le mouvement debussyste, le ‘dukassisme’, le ‘ravélisme’, ‘l’interventio bruyante de M.Richard Strauss’.” Not found as cited. 310.

Roger-Ducasse, [Jean]. “L’enseignement de Gabriel Fauré.” In Gabriel Fauré, 15–22. Paris: Les publications techniques et artistiques, 1946.

One of the most detailed accounts of Fauré as teacher of composition. Roger-Ducasse credits Fauré with rescuing the composition class of the Conservatoire from being merely a preparation for the Prix de Rome; discusses Fauré’s seemingly offhand classroom manner (mentioned by other writers), his attitude toward basic musical skills, his unwillingness to compose or teach composition from within a system (here contrasted with d’Indy); recounts defending a piece of Ravel to Fauré by arguing that every aspect of the piece was a continuation of Fauré’s style. 311.

Sivry, A. de. “Notre portrait: Gabriel Fauré.” Le monde musical 17, no. 12 (30 June 1905): 153–54.

As his reaction to Fauré’s appointment as director, cites Bruneau (item 289); notes that Fauré has not composed for the stage or for the organ; provides a biographical sketch and a list of works. The issue also

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includes as supplement the score to Fauré’s “Accompagnement” Op. 85, No. 3. 312.

Surtac. “Les réformes du Conservatoire.” Musica, November 1905, 166.

Announces the initial reforms of the Conservatoire which include the creation of teaching positions in counterpoint and fugue, changes to first-year instruction in voice to emphasize technique, greater emphasis on ensemble performance and on music history, an expansion of the governing council, and a modification to the obligatory engagement by the Opéra-Comique of prizewinners in voice. 313.

Torchet, Julien. “Gabriel Fauré, directeur du Conservatoire de Paris.” Le guide musical 51, nos. 26–27 (25 June and 2 July 1905): 473–78.

Torchet cannot seem to settle on an opinion of either Fauré or his predecessor, Dubois; contends that the government waited so long after the departure of Ambroise Thomas as director that Massenet refused the post and Dubois, of an admittedly conservative bent, was appointed because he was the only candidate remaining; continues, however, by praising Dubois’s accomplishments (and minimizing the Ravel scandal). Similarly, Torchet underscores the fact that Fauré is not an alumnus of the Conservatoire nor a member of the Institut, has not won the Prix de Rome, and is not a composer of operas; but he also praises Fauré’s music (although even here, he emphasizes how difficult it is to “define” Fauré’s music—see item 490). 314.

Vuillermoz, Émile. “Gabriel Fauré.” Le courrier musical 8, no. 13 (1 July 1905): 401–3.

Deals with Fauré’s appointment as director of the Conservatoire. The author notes that Fauré did not have the traditional qualifications for the post: he did not attend the Conservatoire, had not won the Prix de Rome, and had not made his career as a composer of operas. Vuillermoz describes Fauré as a quiet revolutionary, a precursor of impressionism, subtle, and interested in sound for sound’s sake (“[le] son pour le son”); indicates Fauré’s influence on “l’école moderne.”

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315.

——. “Gabriel Fauré.” La revue illustrée 20, no. 14 (1 July 1905): 23–26.

Not the same article published by Vuillermoz on the same date (item 314), but one which is inspired by the same event—Fauré’s appointment as director of the Conservatoire—and is written to the same end of justifying the choice. Vuillermoz accomplishes this by first describing Fauré’s success as a teacher of composition in the Conservatoire and further by an eloquent description of the vocal works, asserting their superiority to any number of larger works by inferior composers. 316.

Woldu, Gail Hilson. “Gabriel Fauré as Director of the Conservatoire National de Musique et de Declamation, 1905–1920.” Ph.D. dissertation, Yale University, 1983. vi, 294pp.

Treats the circumstances of Fauré’s appointment of director, his pedagogical approach, the major reforms of 1905 within the context of the history of the Conservatoire since 1784, and the events of his fifteenyear tenure as director with an eye to “its role in shaping the musical culture of 20th-century France.” 43 Appendices reproduce relevant documents and list pieces required in various concours from 1897 to 1920; bibliography. An important study. 317.

——. “L’enseignement de Gabriel Fauré au Conservatoire.” Études fauréennes 20–21 (1983–1984): 29–35.

Drawn from the second chapter of the author’s dissertation (item 316). 318.

——. “Gabriel Fauré, directeur du Conservatoire: Les réformes de 1905.” Revue de musicologie 70, no. 1 (1984): 199–228.

Drawn from the central part of the author’s dissertation (item 316). 319.

——. “Au delà du scandale de 1905: Propos sur le Prix de Rome au début du XXe siècle.” Revue de musicologie 82, no. 2 (1996): 245–67.

Discusses the suggestions made by a number of people for the reforming of the procedures for the Prix de Rome following the scandal over Ravel’s failure to win the prize in 1905, specifically the

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ideas—supported by both Fauré and Lalo—that the Conservatoire should have its own concours in composition limited to its own students and that the antique cantata as the required piece for the Prix de Rome be abandoned in favor of genres more representative of early twentieth-century music. 320.

——. “Fauré at the Conservatoire: Critical Assessments of the Years 1896–1920.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

A discussion of “Fauré the teacher and Fauré the administrator” who, in bringing great changes to the Conservatoire, had a profound effect on the musical life of early twentieth-century France; includes reactions to Fauré’s innovations by a variety of musicians and music critics and by Fauré himself.44 See also items 449, 469, and 808. Fauré and Brahms 321.

Auclert, Pierre. “A propos de deux malentendus: Brahms et Fauré.” Association des amis de Gabriel Fauré: Bulletin 10 (1973): 15–17.

Using the circumstances of the gradual acceptance in France of Brahms’s music as example, suggests that the music of Fauré might enjoy greater popularity in Germany and Austria if serious efforts were made to give good performances of Fauré’s compositions in these countries and if French critics themselves stopped proclaiming that Fauré’s style is too French to travel. 322.

Breitfeld, Claudia. “Die Cellosonaten von Brahms und Fauré.” In Gabriel Fauré: Werk und Reception, edited by Peter lost, 66– 76. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

Breitfeld compares the works of the two composers, considering melodic-rhythmic idiosyncrasies, harmonic rhythm, and motivic development; concludes that their music has common roots in their use of rhythmic cells and archetypical motives involving fourths and fifths (“…rhythmischen Keimzellen und archetypischen Motiven im Quartbzw. Quintrahmen…”); however, finds that Fauré’s melodies are

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less folklike and more “composed” than are Brahms’s; locates both similarities and differences in their harmonic usage; calls both composers “Classists.” 323.

Elst, Nancy van der. “Twee liedcomponisten: Fauré en Brahms.” Mens en melodie 4, no. 10 (October 1949): 308–10.

The author points out similarities in the careers of Brahms and Fauré (particularly in their composition of vocal works) and goes on to present an argument for a closer comparison of the music of these two composers and of Germanic and Romance (“Germaanse” and “Romaanse”) musical traditions in general, the better to understand what common characteristics may exist in two cultures held to be so different. 324.

Matter, Jean. “Brahms et Fauré.” Schweizerische Musikzeitung/ Revue musicale suisse 99, no. 2 (1 February 1959): 58–59.

A slight article which contends that in spite of obvious cultural differences, there are parallels between the styles of Fauré and the “real” Brahms of chamber music and Lieder; the author cites, as well, a few brief passages from Brahms’s works which he hears as fauréen. 325.

Piguet, J.-Claude. “Brahms et Fauré.” Schweizerische Musikzeitung/Revue musicale suisse 91, no. 4 (1 April 1951): 143–47.

The author begins by asserting that the usual comparison of Fauré with Schumann is valid only for Fauré’s early, better-known works; continues in finding fauréen characteristics in non-symphonic compositions by Brahms, particularly the chamber pieces; concludes the article in discussion of what he sees as the great difference between Brahms and Fauré—the latter’s perfection in pure music through a simplification of style and an attainment of a “mysterieuse poésie” which are absent in Brahms. Fauré and Debussy 326.

Laloy, Louis. Claude Debussy. Paris: Les bibliophiles fantaisistes [Dorbon ainé], 1909. 107pp.

Lists Fauré as a precursor of Debussy: “C’est par lui que la renaissance de notre musique a commencé.”

Bibliography 327.

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Nectoux, Jean-Michel. “Debussy et Fauré.” Cahiers Debussy (Nouvelle série) 3 (1979): 13–30.

Traces the parallels in the early careers of the two composers and in their compositions of the period; remarks on their mutual affinity for the poems of Verlaine as text for songs; discusses the divergence of their artistic philosophies and their music after their settings of Pelléas et Mélisande as well as the “delicate” nature of their personal relationship after Emma Bardac became Debussy’s companion. 328.

Tinan, Mme Gaston de (Hélène “Dolly” Bardac). “Memories of Debussy and His Circle.” Recorded Sound: The Journal of the British Institute of Recorded Sound nos. 50–51 (April-July 1973): 158–63.

In this memoir of her stepfather, the author mentions Fauré briefly in a number of contexts including an affirmation of the cordial relationship between Fauré and Debussy after the latter’s marriage to Emma Bardac. 329.

Vallas, Léon. Claude Debussy et son temps. Paris: Félix Alcan, 1932. 396pp.

Makes brief mention of Debussy’s Nocturne for piano in which he hears the influence of Fauré (90f); also implies that the relationship between the two composers was, at the time Fauré had Debussy appointed to the council of the Conservatoire, chilly (276). See also items 489 and 684. Fauré and Proust 330.

Compagnon, Antoine. “Fauré, Proust, et l’unite retrouvée.” Romanic Review 78, no. 1 (January 1987): 114–21.

Compagnon finds common ground between Fauré and Proust in that both existed “between centuries,” combining old and new in their art; argues that the formal unity sought by Proust is reflected in several works of Fauré which Proust admired and to which he made direct or indirect reference in his writing: the First Violin Sonata Op. 13, the First Piano Quartet Op. 15, La bonne chanson Op. 61, and especially the Ballade Op. 19.

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331.

Gouin, Jacques. “Fauré dans la vie et l’œuvre de Proust.” Sonances 6, no. 2 (January 1987): 16–25.

Traces the acquaintance of Fauré and Proust; examines Proust’s taste in music, particularly his fascination for the music of Fauré; discusses briefly references to music and the use of musical metaphor in Proust’s writings and offers the hypothesis that Fauré was the model for Proust’s composer, Vinteuil. 332.

Hoyle, Wilson T. “Joseph Fennimore: His Biography and Works Together with an Analysis of His “Quartet (After Vinteuil).” D.M.A. dissertation, Manhattan School of Music, 1981.

Includes a discussion of the piece’s programme (from Proust) and of the influence of Fauré’s style on that of Fennimore.45 333.

Incontrera, Carlo de, ed. All’ombra delle fanciulle infiore: La musica in Francia nell’età di Proust. Monfalcone: Teatro comunale, 1987. 446pp.

Includes, in Italian translation by Stefano Bianchi, a number of items published elsewhere: Fauré’s reminiscences of the Niedermeyer School (item 42) and his article on Saint-Saëns (item 13); Jean-Michel Nectoux’s articles on the Art Nouveau (item 1122) and Ravel and the S.M.I. (item 337); and Ravel’s essay on Fauré’s songs (item 596). 334.

Lockspeiser, Edward. “Gabriel Fauré and Marcel Proust.” The Listener 65, no. 1679 (1 June 1961): 985. Reprint. Essays on Music: An Anthology from ‘The Listener’, edited by Felix Aprahamian, 111–14.

An odd piece which begins by speculating on the effect of Fauré’s music on Proust and ends in a loss of focus by resurrecting Camille Bellaigue’s idea that the Requiem was composed by Fauré as a lament for his early relationship with Marianne Viardot. 335.

Nectoux, Jean-Michel. “Une lettre de Marcel Proust à Gabriel Fauré, commentée par Jean-Michel Nectoux: Proust et Fauré.” Bulletin de la Société des amis de Marcel Proust et des amis de Combray 21 (1971): 1101–20.46

In a carefully constructed article, Nectoux dates, as far as is possible, the letter mentioned in the title; suggests how Proust came to know the

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music of Fauré; discusses Proust’s devotion to Fauré and his music and the aesthetic affinity between the two artists which would explain it; describes Proust’s critical stance toward the music as a literary rather than a musically technical one; remarks on the irony of Proust’s affirming Fauré’s genius from the evidence of early works which are, for Fauré’s detractors, proof instead of his being a salon composer; traces explicit and implicit references to Fauré and his compositions in Proust’s writings. See also item 169. Fauré and Ravel 336.

Long, Marguerite. “Gabriel Fauré—Maurice Ravel: Le maître et l’élève.” Les annales—Conférencia 39, no. 10 (10 October 1950): 430–39.

A chatty reminiscence of the author’s personal and professional acquaintance with both Fauré and Ravel; however, in spite of the article’s title, it does not deal in any significant way with the relationship between the two composers; the biographical sketch of Fauré contains minor errors of fact. 337.

Nectoux, Jean-Michel. “Ravel/Fauré et les débuts de la Société musicale indépendante.” Revue de musicologie 61, no. 2 (1975): 295–318.47

Through citation of previously unpublished correspondence, Nectoux discusses the relationship between Fauré and Ravel dealing with Ravel as student, the Prix de Rome and the “scandale Ravel,” and the founding of the Société musicale indépendante; compares the aesthetic similarities and differences of the two composers and remarks that of all of Fauré’s compositions it was the vocal works which Ravel most admired and which most influenced him. 338.

Orenstein, Arbie. Ravel: Man and Musician. New York: Columbia University Press, 1975. xvii, 291pp. ISBN 0-231-03902-6

Refers to Fauré throughout the book; includes Fauré’s class reports on Ravel as composition student (27f); characterizes Ravel’s artistic genealogy as lines from the Renaissance and from Mozart which pass through Fauré.

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339.

Sannemüller, Gerd. “Gabriel Fauré und Maurice Ravel: Notizen zu einer Lehrer-Schüler-Beziehung.” Neue Zürcher Zeitung 275 (25–26 November 1987): 67.

Chronicles the relationship between Fauré and Ravel as student and Ravel as colleague; discusses the “Berceuse sur le nom de Gabriel Fauré” which Ravel contributed to the special issue of La revue musicale which honored Fauré in 1922. 340.

Vuillermoz, Émile. “L’œuvre de Maurice Ravel.” In Maurice Ravel par quelques-uns de ses familiers, 1–96. Paris: Éditions du tambourinaire, 1939.

Provides a brief description of Fauré’s influence on Ravel (50–52). See also the section, Fauré’s influence on later composers, below. Fauré and Saint-Saëns 341.

Ratner, Sabina Teller. “Camille Saint-Saëns: Fauré’s Mentor.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

An evaluation of “Saint-Saëns’s role as pedagogue, coach, mentor, editor, and essayist” in his interaction with Fauré and other prominent musicians of his time and with such institutions as the École Niedermeyer and the Conservatoire.48 See also items 13, 46, 772, and 835. Fauré and Schmitt 342.

Roussel, Albert. “Florent Schmitt.” Le monde musical 31, nos. 3 & 4 (15 & 20 February 1920): 39–41.49

Makes brief reference to the influence on Schmitt’s style by his teachers, Fauré and Gédalge. 343.

Roy, Jean. Presences contemporaries, musique française. Paris: Nouvelles éditions Debresse, 1962. 488pp.

Bibliography

199

Although Fauré is not the subject of one of the twenty studies of French musicians from Erik Satie to Jacques Bondon, mention is made (101) of Bernard Gavoty’s characterization of Schmitt as heir to both Franck and Fauré50 as well as Honegger’s debt to Fauré (168).51 Fauré, personal philosophy, and religious belief 344.

Berteaux, Eugène. “Devant ‘l’horizon chimérique’.” In En ce temps-là: Souvenirs, 234–45. Paris: Éditions du bateau ivre, [1946].

Interweaves several elements of Fauré’s life in this brief memoir; discusses Fauré’s religion (quoted in item 101:112) in connection with his views on art and beauty; compares Fauré’s deafness to Beethoven’s and suggests that his deafness might have been, together with his sensitivity to a text, an essential ingredient in the composition of his late works (mentions particularly L’horizon chimérique). 345.

Caballero, Carlo. “Fauré and French Musical Aesthetics.” Ph.D. dissertation, University of Pennsylvania, 1996.

A consideration of Fauré’s aesthetics within a historical context to further an understanding of “Fauré’s conception of his own creative work”; explores the music and letters of Fauré, cites musicians and critics who were Fauré’s contemporaries, and examines the writings of Valéry, Proust, Dromard, and Bergson; applies results to analyses of various middle and late-period works.52 346.

——. “Fauré’s Religion and La chanson d’Eve.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

Discusses the song cycle as a mirror of Fauré’s religious beliefs toward the end of his life; his choice of poems from the much larger Van Lerberghe collection is seen as “announc[ing] a kind of natural religion” which is at odds with tenets of traditional Catholicism.53 347.

Fauré-Fremiet, Philippe. “La pensée fauréenne.” In Gabriel Fauré, 8–14. Paris: Les publications techniques et artistiques, 1946.

In spite of several quotations from Fauré’s writings, FauréFremiet’s article is less an objective treatment of Fauré’s personal and artistic

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philosophies than it is a characterization of the composer based on the author’s personal knowledge of the composer and his subjective interpretation of Fauré’s compositions. Fauré-Fremiet describes Fauré as an optimist but one more cautious than the more traditionally Christian Bach and Franck; finds only one “black” piece in Fauré’s output: the final song of La chanson d’Eve; includes a lengthy aside about “les véritables Nocturnes de Fauré”—not the piano pieces but others he describes as “confident,” including a number of the songs, the second act of Pénélope, and that section of Shylock, views Pénélope as the supreme, almost religious, expression of Fauré’s optimism. 348.

Jankélévitch, Vladimir. La musique et l’ineffable. Paris: Armand Colin, 1961. 198pp.

In chapters entitled “L’«éthique» et la «métaphysique» de la musique,” “L’«espressivo» inexpressif,” “Le charme et l’alibi,” and “Musique et silence,” the author considers a number of philosophical topics concerning music many of which he announces in his introduction: the paradoxes of music as expressive and inexpressive, serious and frivolous, profound and superficial, powerful and ambiguous, with meaning and without; draws a number of examples from Fauré. 349.

Pési, Jacques. “L’esthétique de ‘pureté’ chez Fauré.” Études fauréennes 18 (1981): 27–30.

A rather disconnected article which begins by identifying Fauré with both the symbolists and the impressionists by virtue of specific aspects of his music; continues with a consideration of ‘pure music’—defined implicitly as not having preexistent meaning (as does language) but as expressing emotion: suggests which emotions may be expressed in and by Fauré’s music before wandering into the idea (attributed to Nietzsche) that music expresses nothing specific but only “la pure puissance émotionnelle de l’âme”; much of the article is dependent on Jankélévitch. Fauré and Belgium 350.

Chevalier, Henri. “Gabriel Fauré à Bruxelles (1888 à 1912).” Synthèses 20, nos. 230–31 (July-August 1965): 251–54.

A brief account of the performance of Fauré’s music in Brussels in various concert series; not completely accurate.

Bibliography 351.

201

Linden, Albert Vander. Octave Maus et la vie musicale belge, 1875–1914. Vol. 6, fasc. 2 of Académie royale de Belgique, Classe des beaux-arts, Memoires. Brussels: Palais des Académies, 1950. 155pp.

An account of Maus’s influence on musical life in Belgium; includes correspondence from Vincent d’Indy to Maus as well as letters from other composers (a few from Fauré) and reviews of concerts organized by Maus—Fauré’s music was not always received without criticism (105f). 352.

Maus, Madeleine Octave. Trente années de lutte pour l’art. Brussels: Librairie l’oiseau bleu, 1926. 511pp.

A chronicle of the activities of the Belgian, Octave Maus, who championed the music of such composers as Fauré, Debussy, and d’Indy. Four of the Cinq melodies Op. 5854 and the First Quintet Op. 89 had their first performances in Brussels in concerts arranged by Maus. See also item 845. See below various articles and reviews dealing with the performance of Pénélope in Brussels and its reception there. Fauré and travel 353.

Cortot, Alfred. “Gabriel Fauré et la Suisse.” Feuilles musicales 7, nos. 4–5 (May-June 1954): 73–77.

A grandiloquent essay which speaks of Fauré’s affection for Switzerland, of his visits to that country (in youth and old age), of some of his pieces composed there, and of his regard for Louis Niedermeyer, who was Swiss. 354.

Della Corte, Andrea. “Le vacanze di Fauré.” La scala 89 (April 1957): 24–25.

Through citations from Fauré’s correspondence, Della Corte traces Fauré’s working vacation to Switzerland in 1906 and makes brief mention of his visit to Venice in 1920.

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355.

Fabre, Michel. “Gabriel Fauré dans les Pyrénées.” Revue régionaliste des Pyrénées 191–92 (July-December 1971): 185–97.

A chronicle of Fauré’s various visits to the regions of his youth and with his family; the focus of the article often wanders from factual history to extol Fauré’s music or to speculate about his feelings at different times during his life. 356.

Lafagette, Roger. “Promenade au pays de Gabriel Fauré.” Revue historique et littéraire du Languedoc (Albi) 6 (June 1945): 131–41.

An odd article55 by a native of Foix whose family had known Fauré as a child; the essay is part detailed travelogue describing the area around the city, part history of the Fauré family (much derived from item 91), and part speculation about the influence of these childhood surroundings on Fauré’s life and career. Fauré, patrons, and business affairs 357.

Cossart, Michael de. The Food of Love: Princesse Edmond de Polignac (1865–1943) and Her Salon. London: Hamish Hamilton, 1978. xi, 243pp. ISBN 0-241-89785-8

A detailed history of Winnaretta Singer’s role as a patron of music and her relationships with performers and composers including Fauré; illustrations, bibliography. 358.

Feurzeig, Lisa. “The Business Affairs of Gabriel Fauré.” In The Dissemination of Music: Studies in the History of Music Publishing, edited by Hans Lenneberg, 117–36. Lausanne: Gordon and Breach, 1994. ISBN 2-88449-117-1

A chronicle of Fauré’s relationships with his publishers; useful but often speculative partly on account of lack of access to important primary sources. 359.

Kahan, Sylvia R. “The Princesse Edmond de Polignac (1865– 1943): A Documentary Chronicle of her Life and Artistic Circle.” D.M.A. dissertation, City University of New York, 1993.

A history of Winnaretta Singer’s musical philanthropy; cites her correspondence; includes a list of her collection of music manuscripts.56

Bibliography 360.

203

Polignac, Princesse Edmond de [Winnaretta Singer]. “Memoirs of the late Princesse Edmond de Polignac.” Horizon 12, no. 68 (August 1945): 110–41. Excerpts, translated by Hélène de Wendel, reprinted as “Mes amis musiciens,” La revue de Paris 71 (August-September 1964): 97–105.

The author reminisces about Fauré, remembering that he composed slowly and carefully, that he preferred expressive music to that “of a too classical spirit,” that he admired the music of Schumann but not that of Brahms, that he was not always faithful in friendships; however, her memory may be faulty since she also remembers that the Cinq mélodies Op. 58, dedicated to her, were completed during Fauré’s visit with her in Venice contrary to the evidence provided by primary sources (see items 96/101). Fauré as critic 361.

Labelle, Nicole. “Gabriel Fauré, Music Critic at Le figaro.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

An overview of Fauré’s critical writings in the collection Opinions musicales in the contexts of the time and of Fauré’s own life.57 See also the annotated list of Fauré’s published criticism above, Chapter 2. WORKS Assessment of style, technique, and historical position 362.

[?]. “Notes of the Day.” Monthly Musical Record 75, no. 866 (May 1945): 73–75.

An editorial comment (preceding articles on various aspects of Fauré’s music by Martin Cooper, Norman Suckling, and Edward Lockspeiser [items 521, 578, and 882]) which characterizes Fauré’s music as quintessentially French but insists that further generalizations become facile and that his music deserves instead careful examination. 363.

Ackere, Jules van. L’âge d’or de la musique française (1870– 1950). Brussels: Éditions Meddens, 1966. 211pp.

The author begins his short chapter on Fauré (41–49) by noting that it is only recently that the composer has been recognized as perhaps of the

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same stature as the “deux maîtres,” Debussy and Ravel, to which most of the volume is consecrated; clearly sees Fauré as a composer of melody and finds this melodic gift revealed in pieces in other genres even if he finds fault—such as “un manque de vitalité rythmique”—with the same works; treats Fauré’s choice of poetry and the austerity of his late style. Curiously, van Ackere seems determined to portray Fauré as more than “un compositeur de charme”: he describes Fauré’s style with the word “virile” three times in two paragraphs. 364.

Amerongen, Alex van. “Gabriel Fauré’s laatste scheppingsperiode.” Mens en melodie 3, no. 7 (July 1948): 204–7.

A brief discussion of Fauré’s late works in which the author finds a maximum of expression in a minimum of notes (“met zo weinig mogelijk noten een maximum aan expressie te geven”); considers Fauré’s ability to find harmonic novelty within the tonal system; mentions the balanced construction (“de evenwichtige bouw”) of his forms and the contrapuntal quality of his writing in this period. 365.

——. “Gabriel Fauré et les Pays-bas.” Association des amis de Gabriel Fauré: Bulletin 14 (1977): 14–19.

The author begins the article with a history of the reception of French music in the Netherlands from the time of Napoleon; indicates that Fauré’s music has not made a great impression on professional musicians or the public, citing among the reasons for this lack of enthusiasm that German romanticism had for a long time a firm grip on musicians and concert-goers, that Fauré never visited the Netherlands as he did Belgium and Great Britain, that visiting artists from France rarely program Fauré (not even Cortot, earlier in the century), and that Dutch musicians fear audience reaction to music so subtle; remarks that the Requiem is the best-known of his works. 366.

Aubert, Louis. “Son œuvre.” Le courrier musical, 15 November 1924, 538–40.58

Remembers Fauré as a non-dogmatic teacher; considers him Debussy’s predecessor although their styles were very different; discusses “Danseuses” of Mirages Op. 113. 367.

——. “Fauré: 1845–1924.” In Les musiciens célèbres, edited by Jean Lacroix, 274–77. Geneva: Mazenod, 1946.

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In spite of the date of publication, this piece must date from before March 1925 since the comments concerning Fauré’s style of teaching (as a guide or counsellor rather than a professor) are quoted by Bruneau (item 250) and attributed to an unknown disciple of Fauré. Aubert discusses Fauré’s life, the genesis of Pénélope, and the austerity of the third period works which he believes is the result of Fauré’s deafness. 368.

Austin, William W. Music in the 20th Century from Debussy through Stravinsky. New York: W.W. Norton, 1966. xx, 708pp.

As aspects of Fauré’s style, Austin cites his “peculiar progressions and modulations” but deems them “less important than the counterpoint of melody and bass” (151), stresses the importance of counterpoint in general to Fauré’s writing (154), and discusses the difference in dissonance treatment in the music of Fauré and Ravel in terms of contrapuntal details (172); cites Ravel about Fauré’s influence on his music (175); includes Fauré in a group of composers (headed by Debussy) who were admired by Stravinsky (249); describes Fauré’s writing for piano as appearing at first “dry and abstract” or “even inept and harsh” but revealing itself upon closer study to be “invariably grateful for the instrument” (153). 369.

Bellaigue, Camille. “Gabriel Fauré.” La revue hebdomadaire 34, no. 10 (7 March 1925): 5–18.59

Includes reminiscences and biographical details. The body of the article is divided into consideration of the “practical basis” and the “poetical basis” of Fauré’s music; Bellaigue first surveys Fauré’s melodic and harmonic practice in non-technical language and makes an insightful remark about the role of the piano in the vocal works; the latter part of the discussion treats the intimate quality of the vocal works and Fauré’s love of the theme of water (the sea) which is present in a number of songs and reappears in Pénélope. 370.

Bernard, Robert. “Gabriel Fauré.” In Les tendances de la musique franç, aise moderne: Cours d’estihétique [sic], 61–73. Paris: Durand, 1930.

The fourth of a series of eight lectures (see also item 496); protests first that too much attention is spent on the differences between Fauré and Debussy when both represent a return to classicism and have given back

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a national character to French music; however, does underline the essential difference between the two composers: that Debussy’s music reflects his engagement of the world while Fauré’s music is absolute, otherworldly, and almost mathematical; sets up an opposition between Fauré’s early salon style and his late abstract style which is a bit mystic; compares Fauré to Racine, Pascal, and da Vinci. 371.

——. “Fauré vu de l’étranger.” La revue française de musique 4, no. 1 (January 1935): 15–20.

Insists that Fauré’s music (like that of Rameau) deserves to be better known outside France and that when it is, foreign audiences will have a more balanced appreciation of the works of Debussy and Ravel. 372.

Berthelot, René. “Cinquante ans après Gabriel Fauré.” L’éducation musicale 30, no. 212 (November 1974): 42–43.

The author considers Fauré one of the greatest composers France has produced and seeks to understand why fifty years after his passing his music is so little performed; suggests that Debussy and Ravel are better known because of a greater emphasis in their output on pieces for orchestra; mentions, as well, the familiar theme that the music of Fauré is too French to appeal to other cultures but without explaining how this is so; contrasts Fauré’s novel manipulations of traditional harmonic resources with Debussy’s expansion of “le vocabulaire musical”; discusses the comparison of Fauré to Schumann and finds any similarities more apparent than real. 373.

Bertschinger, Walter. “Gabriel Fauré.” Schweizerische Musikzeitung/Revue musicale suisse 94, no. 10 (1 October 1954): 363–66.

The author suggests three reasons why the music of Fauré is so little appreciated in Germanic cultures: that Fauré suffers from an undeserved reputation as a salon composer; that unfamiliarity with French makes understanding of the songs difficult; and that a preoccupation with symphonic music promotes ignorance of chamber music. In the remainder of the article, Bertschinger lists a number of Fauré’s works in various genres, characterizes his style, and argues Fauré’s importance in the history of French music.

Bibliography 374.

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Biget-Mainfroy, Michelle. “Gabriel Fauré und die Nacht: Zur Diskussion von Stilelementen des Impressionismus und Expressionismus in den Kompositionen der Jahrhundertwende.” In Gabriel Fauré: Werk und Reception, edited by Peter lost, 163– 70. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

The author lists in detail the technical differences between the styles of impressionism and expressionism, and she notes that Fauré seems independent of both the former and the romanticism which gave rise to the latter; however, she also finds connections between the music of Fauré and Debussy and that Mahler and Schoenberg—that it all divests itself of the material (“Die Musik von Fauré und Debussy, aber auch von Mahler und Schönberg entmaterialisiert sich gleichsam.”) and strives toward the same inner stillness (“innerlichen Stille”). 375.

Boulanger, Nadia. “Lectures on Modern Music: I. Modern French Music.” The Rice Institute Pamphlet 13, no. 2 (April 1926): 113–52. Reprinted in Don G.Campbell. Master Teacher: Nadia Boulanger, 99–123. Washington: The Pastoral Press, 1984.

Dates modern French music from Fauré and Debussy; discusses first the problems of understanding a new harmonic language and does so with reference to acoustic theory; mentions the renewed interest in modal scales with examples drawn from Fauré and others. Considers Fauré, Debussy, and Stravinsky to be “the chief figures in the musical history of the last thirty-five years”60 and Fauré as the greatest of the three; gives a short biography, a description of his personality, and an assessment of Fauré as a teacher; says that Fauré is, like Mozart, “essentially a ‘musician’s composer’” and describes him as “essentially French”; finds the newness of his deceptively simply music not in a new harmonic vocabulary but in a new syntax which anticipated both Ravel and Debussy; lists “the most characteristic of his compositions.” The remainder of the article deals with later composers. 376.

Cande, Roland de. “Gabriel Fauré.” In Les chefs-d’œuvre de la musique, 2:182–90. Paris: Éditions du seuil, 1992. ISBN 2-02-016471-X

For each composer included, the author gives a brief bibliography and selects certain works as masterpieces for which he provides the dates of composition and first performances, the facts of publication, the

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primary sources, the author of the text, the musical forces required, the name of the dedicatee, and a discography; each piece is also treated to a brief commentary. For Fauré, the author has selected the Requiem, Le jardin clos, L’horizon chimérique, the Second Piano Quintet, the Piano Trio, and two nocturnes. Information about primary sources is almost completely erroneous. 377.

Carraud, Gaston. “La musique pure dans l’école française contemporaine.” Bulletin SIM, August-September 1910.

Defines pure music as that which is determined by interior rather than exterior forces, which expresses its own meaning divorced from any text or programme; calls Franck the father of pure music in France and devotes the largest part of the article to discussing the continuation of his tradition in d’Indy, Dukas, and Magnard. Fauré, who is neither influenced nor imitated by anyone and is thus outside this tradition, is nonetheless described as “l’homme qui représente le plus purement la musique pure en France.”61 378.

——. “II. Gabriel Fauré.” Le ménestrel 82, no. 15 (9 April 1920): 149–51.

The second part of a lecture presented as the Concerts historiques Pasdeloup, 4 March 1920.62 Carraud refers to Fauré as the greatest living musician having had in his time equals in only Berlioz, Gounod, and Franck; also describes him as the most essentially French composer since Rameau. The article includes a brief biography which emphasizes Fauré’s role as a teacher; Carraud also struggles with a description of Fauré’s style, citing its charm but also the intellectual vigor beneath the simplicity and apparent fragility. He also observes that the small works must be seen in the light of the larger ones and that, indeed, the latter are simply logical extensions of the former in a way that recalls Mozart; also compares Pénélope to The Magic Flute, Castor and Pollux, Fidelio, and Parsifal, ends by crediting Fauré with the invention of a harmonic language “sans précédent.” 379.

Carter, Elliott. “Gabriel Fauré.” In The Writings of Elliott Carter: An American Composer Looks at Modern Music, edited by Else Stone and Kurt Stone, 107–10. Bloomington: Indiana University Press, 1977. ISBN 0-253-36720-463

An assessment of Fauré’s style, place in music history, and influence on later composers (mentioning particularly Poulenc, Auric, and Milhaud).

Bibliography

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Likening Fauré to Manet, Carter emphasizes the “precision of outline,…clarity, and…intimacy” of Fauré’s music which differentiate it from that of Debussy or Ravel; finds similarities between elements of Fauré’s style and the styles of Mendelssohn, Schumann, Mozart, and Bach; suggests one reason Fauré is little known outside France: that the listener must know French well in order to appreciate the subtleties of Fauré’s setting of text. 380.

Casella, Alfredo. “Gabriel Fauré, 1845–1924.” Il pianoforte 5, no. 12 (December 1924): 316–17.

Written by a former student of Fauré on the occasion of the composer’s death but more a characterization of his style than an obituary. The author believes that the chamber music and the vocal music are much more important than the works for piano, and he praises Pénélope but understands that it will not be popular with the general public. Casella expresses his gratitude to Fauré as teacher for his appreciation of classicism, his sense of structure, and his love of contrapuntal polyphony; remarkably, he also attributes his anti-impressionist stance to Fauré’s teaching. 381.

Chanler, Theodore. “Music Chronicle: Aspects of Gabriel Fauré.” The Hound & Horn 3, no. 4 (July-September 1930): 557–63.

The author tries to understand why public enthusiasm for Fauré’s early compositions did not continue to his mature works and suggests that what he sees as Fauré’s indifference to orchestration64 or to the sonic possibilities of individual instruments may have be at fault; wonders why Debussy’s music had so little influence on the older Fauré; mentions Fauré’s use of the “long line”; contends that Fauré’s inventive use of the bass prevents rhythmic monotony and, without suggesting how, makes the familiar assertion that in Fauré’s music ordinary harmonies become extraordinary. 382.

——. “Gabriel Fauré, a Re-appraisal.” Modern Music 22, no. 3 (March-April 1945): 165–69.

Chanler writes favorably of Fauré the composer (using examples from Pénélope); but the larger part of the article presents an assessment of and speculation about Fauré the career musician (or, even, the musical politician); compares his approach to composition with Debussy’s:

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“One might say that Fauré instinctively adopted a rational approach, whereas Debussy rationalized an instinctive one”; reasserts his earlier views about Fauré’s use of instruments (item 381). 383.

Chantavoine, Jean. De Couperin à Debussy. Paris: Félix Alcan, 1921. 180pp.

Significant only in that the author, while devoting chapters to Chabrier, Massenet, and Debussy as well as making reference in various contexts to Gounod, d’Indy, and Ravel, avoids mentioning Fauré at all even in the first chapter during a discussion of the development of the Lied in France. 384.

——and Jean Gaudefroy-Demombynes. Le romantisme dans la musique européenne. Paris: Albin Michel, 1955. 611pp.

Mentions Fauré first in connection with a discussion of Liszt—believes that Fauré drew the main theme of his First Violin Sonata from Vallée d’Obermann and a figuration of the Sixth Nocturne from Liszt’s “Les jeux d’eau a la Villa d’Este” (276–78); in single sentences, contrasts Verdi’s Requiem with that of Fauré (409) and compares Fauré with Schumann and Schubert (423 n. 2). 385.

Cheiner, Sophie. “Sobre Gabriel Fauré y su destino (1845– 1924).” Heterofonía 12, no. 3 (May, June, July, August 1979): 11.65

A short but very metaphorical description of Fauré’s style which calls his music nocturnal and likens it to continual improvisation escaping gravity; crescendi and arabesques compared to waves and bells, and the charm of the music to the charm of prayer (“El encanto de la música de Fauré equivale al encanto de una oración….”); cites certain modal inflections. 386.

——. “El misterio de Gabriel Fauré (1845–1924).” Heterofonía 13, no. 4 (October, November, December 1980): 32–34.

Asserts the strength of Fauré’s music hidden under the apparent weakness of its sweetness. 387.

Cœuroy, André. “Fauré—Caplet—Satie: Ein Andenken.” Anbruch (1925): 430–31.

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A brief assessment of three composers whom the author describes as representing the foundations of French musical culture; characterizes Fauré as a musical Bolshevik (although admittedly a quiet one); credits him with being both the link to the classical past as well as the spark of impressionism in music: refers to him specifically as Debussy’s forerunner. 388.

Collet, Henri. “La musique chez soi: Œuvres nouvelles de M. Gabriel Fauré.” Comœdia, 26 December 1919, 2.66

Divides composers into “Héros” and “Civilisés” and places Fauré in the latter category declaring that since his style does not cater to fickle public taste, his music will never become dated; compares Fauré’s art with that of ancient Greece but also describes it as the incarnation of “!’ esprit français”; treats in some detail the Fantaisie Op. 111 in which he discusses the orchestration, Masques et bergamasques Op. 112 in which he finds a connection to the French baroque, and Mirages Op. 113 which he terms “descriptive” and in which new elements (such as a more austere declamation) mix with older, unmistakably fauréen characteristics. 389.

——. “La musique chez soi: Le cas Gabriel Fauré.” Comœdia, 31 December 1920, 2.

Regards Fauré as the embodiment of the French spirit in music as Wagner is the German; considers a musician of understated power whose compositions appeal to “le sentiment” of listeners while those of Debussy appeal to their “sensibilité”; waxes indignant at the suggestions that Fauré’s music is not tonal and that he is not a great composer because he has not written symphonies. 390.

Cooper, Martin. French Music from the Death of Berlioz to the Death of Fauré. London: Oxford University Press, 1951. x, 240pp.

As the book is organized chronologically, discussion of Fauré’s works appear in three chapters; however, Cooper’s implicit tripartite division of Fauré’s output is different from the familiar one: lyricism and “revolutionary harmonic processes” which, in the piano music, are heir to Chopin, Schumann, and Mendelssohn (through the middle 1890s and La bonne chanson), a tendency to asceticism (to the end of the World War I), and “sobriety” and “extreme compression” (from 1918 to the composer’s death). The author’s language is occasionally poetic or

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vague but most often his insights into Fauré’s stylistic development and place in French music are well illustrated by details drawn from works of various genres. Cooper contrasts the pedagogical effect of the Conservatoire (especially after Fauré’s appointment as teacher of composition) to that of the Schola Cantorum; he also expresses an interesting opinion about the history of French music which most writers about Fauré would challenge—that late nineteenth-century French composers traced their stylistic heritage either to the classical Saint-Saëns (Chabrier, Dukas, Ravel) or to the romantic Gounod (Massenet, Franck, and Fauré [!]). 391.

——. “National Styles in the Nineteenth-Century: France and Russia.” In Heritage of Music, edited by Michael Raeburn and Alan Kendall, 3:7–21.67 Oxford: Oxford University Press, 1989.

Includes a brief description (with familiar comparisons to Schumann and Chopin) of Fauré’s style and place in the history of the arts in France. 392.

Copland, Aaron. “Gabriel Fauré, a Neglected Master.” Musical Quarterly 10, no. 4 (October 1924): 573–86. The introduction is reprinted in the seventy-fifth anniversary issue of the same journal 75, no. 4 (Winter 1991): 48–50.

Asks why Fauré’s music, particularly his late works, is so little known outside France and suggests the explanation that older critics dismissed him as a salon composer while younger ones were too distracted by Debussy and impressionism to pay attention to his mature compositions; intended as an apologia for Fauré’s music, the article presents an overview of his œuvre concentrating on the vocal, piano, and chamber music; deems Fauré a classical, interior composer and compares his position in French music to that of Brahms in German music; finds the middle and late period works much more significant than the earlier, more popular ones. 393.

Crichton, Ronald. “Gabriel Fauré.” In Heritage of Music, edited by Michael Raeburn and Alan Kendall, 4:19–29. Oxford: Oxford University Press, 1989.

An encyclopedia-like article, divided by genre and period, in which are intermingled biographical fact and capsule description of stylistic parameters and individual pieces.

Bibliography 394.

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Davies, Laurence. “Gabriel Fauré: Orpheus of French Song.” In The Gallic Muse, 1–28. London: J.M. Dent & Sons, 1967.

The author describes his book as a series of related essays dealing with the development of late nineteenth and early twentieth-century French music; the critical aspect of the writing is insightful and more successful than the biographical which is anecdotal and familiar; characterizes Fauré as a “scholar artist”; defends most effectively Fauré’s piano music and deplores its neglect by performers; devotes the largest part of the article to a discussion of Fauré’s songs and their texts and of Fauré’s place in the history of the genre; discusses Fauré’s teaching and his influence, direct and indirect, on younger composers and, indeed, refers to Fauré throughout the book in essays devoted to Duparc, Debussy, Satie, Ravel, and Poulenc. 395.

——. Paths to Modern Music: Aspects of Music from Wagner to the Present Day. New York: Charles Scribner’s Sons, 1971. xvii, 330pp. ISBN 684-12440-8

In two chapters dealing with French music, “The Growth of the mélodie” and “Piano Music—Franck to Messiaen,” the author repeats a number of the points made in his earlier work (item 394); suggests that some believe that Fauré did not really understand prosody (but see items 657 and 659). 396.

Debussy, Claude. Monsieur Croche et autres écrits. 2d ed. Paris: Gallimard, 1987. 362pp. ISBN 2-07-071107-2

In the context of a review of a concert of the Société nationale, Debussy makes his famous reference to Fauré as the “Maître des Charmes” and his comparison of the charm of the Ballade to a gesture of the pianist, Marguerite Hasselmans. 397.

Deliège, Célistin, and Madame de Thèbes. “Deux opinions sur un grand musicien.” Clés pour la musique 62 (February 1975): 14f.

Deliège terms Fauré “un compositeur grand-bourgeois” who reflected middle-class morality in his treatment of the prosody of song texts, who used harmony to torture music, whose modulations do not show the logic of Wagner’s, and who was much less inventive than either Brahms or Wagner. He believes Fauré’s songs to be weakest part of his output.

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The section by Madame de Thèbes is a partial reprint of item 1130. 398.

Demuth, Norman. “Gabriel Fauré.” Musical Opinion 71, no. 845 (February 1948): 165–66.

Declares that while Fauré’s music is beautiful it is not “great” and never experimental; finds Fauré’s importance in his formulation of “a French way of thinking” and his genius for teaching “by example rather than precept.” 399.

——. Musical Trends in the 20th Century. London: Rockliff, 1952. Reprint. Westport: Greenwood Press, 1975. xvii, 359pp. ISBN 0-8371-6896-1

Fauré is treated concisely in the introductory chapter, “The French Genius”; asserts that Fauré’s style “represent[s] everything French music stands for” and locates it between the tonal stability of d’Indy and the formlessness of Debussy; declares unjust the labelling of Fauré as only a miniaturist; considers his music “exquisite” but also remarks no less than three times that it is also “feline.” 400.

Duck, Leonard. “Fauré: The Gentle Revolutionary.” Hallé 90 (November 1956): 1–4.

Duck deplores the ignorance of Fauré’s music in England, but makes the familiar suggestion that it is too “patrician” to be popular; credits Fauré with the courage to follow his own direction both as composer and as educator: as teacher his “example…liberated composers from the impasse of impressionism” and as director of the Conservatoire, his reforms provided students (his own and those who studied with his pupils) with a broad musical education; likens Fauré’s “Hellenic” music to that of Mozart rather than that of German tradition beginning with Beethoven. 401.

Dufourcq, Norbert. La musiquefrançaise. Paris: Éditions A. et J.Picard, 1970. x, 448pp.

The book is an overview of French music whose stance is revealed by the title of its conclusion: “Constantes et caractères de la musique française.” The section on Fauré (320–26) includes a brief biographical sketch and traces the developments in his compositional career in

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familiar ways: Fauré’s roots are in the romantic period the influences of which (Mendelssohn, Schumann, Chopin, and, in Prométhée, Wagner) are assimilated in his own originality; Fauré’s works are divided into the usual three periods, his style becoming more and more refined throughout his life. The author’s style is descriptive and metaphorical— there are no musical examples in the book—and approaches technical writing only in the discussion of the second period songs. 402.

Dukas, Paul. “Les séances du quatuor Ysaye [sic]….” In Les écrits de Paul Dukas sur la musique, 31–39. Paris: Société d’éditions françaises et internationales, 1948.68

Characterizes (35f) the two piano quartets as works “de grâce et de charme plutôt que de force” and Fauré as “simplement un musicien, mais…d’une façon exquise.” 403.

Dumesnil, René. La musique contemporaine en France. Paris: Armand Colin, 1930. 2 vols., 218, 223pp.

This work is divided into two large sections, 69 “Le renouveau symphonique” and “L’évolution du théâtre lyrique contemporaine”— Fauré is treated in both. In the chapter, “Gabriel Fauré—Claude Debussy” (1:102–9), the author sketches Fauré’s biography and lists his compositions, making the remark that it is in the chamber music that Fauré’s development of a pure, Hellenic style is perfected; further discusses Fauré’s use of modality, giving examples of specific techniques. Dumesnil’s discussion of Fauré’s stage works (2:146–55) describes each (repeating ideas from item 226) and makes a very few remarks about his use of tonality (2:152f). Describes with admiration Fauré’s sacred music (1:49–51); suggests that the basic tonal vocabularies of Fauré and Debussy are very similar (1:122). Speaks about Fauré’s influence as of a teacher very specifically: Fauré’s pedagogy was too liberal to create a school but did inspire a common trait of liberalism in his pupils70 which enabled them “subir, chacun selon son tempérament, la fascination debussyste” (1:147). Compares Fauré with Mozart a number of times throughout. 404.

——. “Le centenaire de Gabriel Fauré.” In Le centenaire de Gabriel Fauré, 29–35. Paris: Éditions de La revue musicale, 1945.

Dumesnil repeats his central themes of Fauré’s atticism (indeed, focuses his discussion on Prométhée and Pénélope) and his similarity to Mozart

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in his grace, nobility and simplicity; stresses Fauré’s originality; applauds the performance of the stage compositions and various of Fauré’s late works on the occasion of the centenary. 405.

——. La musique en France entre les deux guerres, 1919–1939. Geneva: Éditions du milieu du monde, 1946. 304pp.

Discussion of Fauré (82–84) concentrates on Pénélope and is similar to Dumesnil’s other essays. 406.

——. “La vie musicale: La génie de Gabriel Fauré.” Le monde, 18 November 1954, 9.

Very similar to the author’s earlier appraisals of Fauré; here quotes Honegger on the subject of Fauré’s similarity to Mozart. 407.

García Morillo, Roberto. Siete músicos europeos. Buenos Aires: Editorial Ollantay, [1949]. 109pp.

Describes Fauré’s style in familiar terms: charming, delicate, discreet, refined, balanced; compares Fauré with Mozart, traces his heritage from Gounod and Saint-Saëns, considers him a precursor of Debussy. 408.

Gauthier-Villars, Henri [Willy]. “M.Gabriel Fauré.” Revue éolienne 17 (September 1900): 437–39.71

Qualifies the usual comparison of Fauré with Schumann: there is a similarity in that each was “le musicien des intimités,” but there exists no correlation between their styles; of Fauré’s style, asserts that it has become more refined, more subtle, and more complicated over time but has remained the same creative thought; cites Fauré’s independence of thought and the lack of influence which Wagner had upon him; terms his songs masterpieces. To this article, the editor, Léon Delgay, adds a brief reminder to the reader that his father, Bernard, claimed to have been Fauré’s first teacher (see item 101:4). 409.

Gavoty, Bernard. “Mon carnet des notes: sur Fauré.” Journal musical français 176 (January 1969): 15–17.

Describes listening to Fauré’s music as a quasi-religious experience in order to ridicule a mathematically oriented theory of music by Pierre Barbaud.72

Bibliography 410.

217

Gervais, Françoise. “Cinquantenaire 1924–1974.” Association des amis de Gabriel Fauré: Bulletin 12 (1975): 3–4.

Considers that Fauré’s music has weathered the twentieth century because his restrained style did not allow certain excesses which now make the music of other composers of his time seem dated. Because Fauré’s music belonged to no school and admitted no influences during his lifetime and because it seems to be above the various currents in music which have moved through the twentieth-century music after his death, Gervais deems that it truly merits the term, “classic.” 411.

——. “Gabriel Fauré traditionaliste novateur.” Association des amis de Gabriel Fauré: Bulletin 15 (1978): 12–15.

The author, having described the general characteristics of nineteenthcentury music, shows in which parameters Fauré’s music is akin to that of his predecessors—melody, rhythm—and in which he is original— harmony; notes in passing that Fauré exploits chromaticism but generally places it in voices other than the melody. 412.

Goldbeck, Fred. “Twentieth-century Composers and Tradition.” In Twentieth Century Music, edited by Rollo H.Myers, 23–33. 2d ed. London: Calder and Boyars, 1968.73

Makes the observation (29) that after Debussy, the “really new music continued to be that which had been either misunderstood, unknown or had led nowhere”; includes Fauré’s music in this generalization. 413.

Gray, Cecil. A Survey of Contemporary Music. 2d ed. London: Oxford University Press, H.Milford, 1927. 266pp.

The author’s stance indicates the reception of Fauré’s music in Britain just after his death; Debussy and Ravel are each the subject of a chapter, but Fauré is not mentioned at all while other composers, some Fauré’s pupils, are summarily dismissed: “Florent Schmitt, Roger Ducasse, Roussel, de Sévérac, and many others have written a vast quantity of music, mostly in the manner of Debussy and Ravel, which is of no significance whatever” (245). 414.

Hervey, Arthur. Masters of French Music. London: Osgood, McIlvaine, 1894. xviii, 290pp.

With one exception (Bruneau), chapters are devoted to composers of the generation before Fauré; in a brief passage in “Some Other French

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Composers” (267–69), the author describes Fauré as “essentially a symphonist” and, citing Imbert (item 171), finds some German influence on his music. 415.

——. French Music in the XIXth Century. London: Grant Richards; New York: E.P.Dutton, 1903. xv, 271pp.

In the chapter, “Saint-Saëns and Contemporaries,” the author mentions Fauré and a handful of his compositions (199f); calls his talent “very individual” and cites the “ultra-refinement” of his music. 416.

Hill, Edward Burlingame. Modern French Music. Boston and New York: Houghton Mifflin, 1924. Reprint. New York: Da Capo, 1969.

Published just before Fauré’s death—the String Quartet is not mentioned—this book offers one contemporary’s view of Fauré’s position in the history of French music. The author asserts that Chabrier and Fauré were “two pioneers of progressive individuality,…the first ‘modernists’” but makes its clear that Fauré’s position is secondary to Chabrier’s as “an evangelizing force toward progress”; deems that both composers proceed from Gounod; in Chapter 5, traces Fauré’s career and describes his style (“Fauré’s distinctive melodic invention and his highly original harmonic sense constitute his chief gifts as a composer.”); treats his compositions by genre concentrating on his ability as a song composer (unlike other writers, believes Fauré to be “gifted with unusual literary discrimination”) and on Pénélope which he admits lacks dramatic action but “contains some of the most beautiful music Fauré has composed”; discusses Fauré’s influence on his pupils (including Ravel) and on Debussy. 417.

Hippeau, Edmond. “Musiciens contemporaines: Gabriel Fauré.” La musique des familles 358 (25 August 1888): 357–58.

Hippeau refers to Fauré as “sympathique et charmant” and predicts a great career for him once he begins to compose for the stage. 418.

Hirsbrunner, Theo. “Gabriel Fauré und Claude Debussy oder das Ende der Salonmusik.” Schweizerische Musikzeitung/Revue musicale suisse 115, no. 2 (March-April 1975): 66–71.

Discusses the changing nature of the salon in the nineteenth century with reference to the phenomena of the public concert, the cabaret, and

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the rise of the Société Rationale; discusses, as well, the changing relationship of the composer to the salon, particularly as such intimate gatherings became the place where new music was presented and as composers replaced wealthy amateurs as participants. Hirsbrunner speaks of how Fauré’s music transcended the salon even in the early part of his career and of how Debussy found the salon environment too restrictive. 419.

Holloway, Robin. “Master of Hearts.” Musical Times 136, no. 1830 (August 1995): 394–96.

Holloway discusses the position of Fauré in the history of musical style by examining the stereotypes of masculine and feminine in music and the interpretation of the Greek artistic ideal at the turn of the century; believes that Fauré had a strong, if yet unrecognized, influence on later composers—particularly Stravinsky—and that he will in time be regarded as a more important composer. 420.

Hooreman, Paul. “Propos à propos de Fauré.” Clès pour la musique 63 (March 1974): 17f.

In the form of a conversation in which one person explains the nature of Fauré and his music to the other; the charge that Fauré is only a salon musician is refuted first by a defence of the salon as a small concert hall and second by the observation that a superficial listener will hear only the surface of Fauré’s music which, like that of Mozart, must be heard with a “third ear” to be truly appreciated; contrasts Fauré’s technique of modulation with that of Franck; proclaims the late chamber works the most important of Fauré’s output. 421.

Horton, John. “Gabriel Fauré.” In Some Nineteenth Century Composers, 70–78. Oxford: Oxford University Press, 1950. Reprint. Freeport, New York: Books for Libraries Press, 1971. ISBN 0-8369-8068-9

Although brief, a competent survey of Fauré’s life and works which traces a stylistic development “from early romantic luxuriance to a final and uncompromising austerity” in the piano pieces, the chamber music, and the vocal works with terse descriptions of a few compositions.

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422.

Hull, Arthur Eaglefield. Music: Classical, Romantic & Modern. London: J.M.Dent; New York: E.P.Dutton, 1927. Reprint. Freeport: Books for Libraries Press, 1971. xiii, 473pp. ISBN 0– 8369–5803–9

Mentions Fauré only briefly but praises the refinement and elegance of his style; terms him “one of the greatest of all French song-writers”; curiously, asserts on the one hand that Fauré is original (330) but, on the other, states that Fauré’s harmonic usage derives from Chabrier who “was the pioneer of a specifically French harmonic idiom” (272); also cites Ravel’s indebtedness to Fauré in his early works (278). 423.

Huré, Jean. “Celui qui vient.” Le monde musical 17, no. 12 (30 June 1905): 154.

Mentions the charm of Fauré’s melodic and harmonic style; makes the comment that his works “résistent à l’analyse.” 424.

Huvelin, Paul. “Symbolistes et impressionnistes.” In Pour la musique française: Douze causeries, 299–328. Paris: Georges Crès, 1917.

In this article (originally a lecture given 20 June 1915), the author begins by asserting the superiority of French music over a worn-out German aesthetic; traces the development of the arts from the unbridled individualism of romanticism through impressionism (which the author views as the direction for the future, especially in music) to the intermediary stages of the Franckian-Parnassian school and the symbolists; identifies Fauré with the latter. 425.

Jankélévitch, Vladimir. Gabriel Fauré et ses mélodies. Paris: Plon, 1938. 251pp.74

See item 430. 426.

Review: Aubert, Louis. Radio Magazine 16, no. 762 (22 May 1938), 2.

Not located. 427.

Review: George, André. Les nouvelles littéraires, 7 May 1938, 8.

Less a review than a brief description of the book.

Bibliography 428.

221

Review: Landormy, Paul. Le ménestrel 100, nos. 23–24 & 25 (10–17 and 24 June 1938): 161–62, 169–70.

A detailed review which takes serious issue with a number of Jankélévitch’s ideas and expression of them; the sharpness of the disagreement is only partly covered by the ritual politeness of Landormy’s language. 429.

——. Gabriel Fauré, ses mélodies, son esthétique. Paris: Librairie Plon, [1951]. 348pp.

See item 430. 430.

——. Gabriel Fauré et l’inexprimable. Paris: Librairie Plon, 1974. 383pp. Reprint. Paris: Librairie Plon, 1988. 383pp. ISBN 2-226-02381-0

Jankélévitch was a professor of moral philosophy at the Sorbonne whose own philosophy has been described as existential and phenomenological as well as influenced by Christian morality and by Kierkegaard, Bergson, and Schelling; it has also been termed idiosyncratic and difficult to classify.75 Certainly, musical scholars trained in an Anglo-German tradition will find it difficult to penetrate his writing which presents a mixture of phenomenology and aesthetics, of technical examples (texture, harmony, modulation, themes) and poetic language.76 Nonetheless, Jankélévitch’s importance for the study of Fauré’s music lies not only in his observations about the compositions themselves but also in the influence he had on subsequent scholars, most notably Jean-Michel Nectoux.77 The first study of this series (item 425) surveys the vocal works of Fauré in approximately chronological order; the second version (item 429) adds a discussion of abstract topics as objects of symbols in Fauré’s music or as the meaning within it (with chapters such as “Le nocturne,” “L’allegretto,” “Euthanasie,” and “Athanasie”) and discusses the notion of “charme”; the third (item 430) expands this discussion and interpolates a study of certain of the piano and chamber pieces. 431.

Review: Chamfray, Claude. Le courrier musical de France 49, no. 1 (1975): 29.

A favorable review which views the work as quite accessible to readers who are not trained in philosophy.

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432.

Jaques-Dalcroze, Émile. “Gabriel Fauré.” La semaine littéraire, 10 November 1894, 532–33.

An article very nationalistic in tone which rejoices that French composers, after the death of Berlioz, have stopped wanting to imitate the music of Italy and Germany; credits Fauré with the revitalization of French chamber music; praises Fauré’s technique: while other French composers have been able to write good melody, Fauré is able to develop it; lauds the depth of thought even in smaller pieces; makes the familiar points about Fauré’s independence of thought and about how his music is difficult and reveals itself only to performers and listeners who have technique and intelligence; can barely conceal his desire for Fauré to write in large forms and says, on the basis of such works as Caligula and La naissance de Vénus, that he is “un des maîtres incontestés de l’art symphonique modern.” 433.

Jarocinski, Stefan. “Fauré en Pologne.” Association des amis de Gabriel Fauré: Bulletin 14(1977):12–13.

The author recounts a few noteworthy performances Fauré’s music has had in Poland beginning with that of the First Violin Sonata Op. 13 in 1897; however, notes that in spite of the efforts of Fauré’s former pupil, Adam Wieniawski, his music has been too little known in Poland to have had any influence. 434.

Kœchlin, Charles. “Conférence sur Gabriel Fauré.” Le ménestrel 83, nos. 21 & 22 (27 May and 3 June 1921): 221–23, 233–35.

Lecture given at the Opéra at the Concerts historiques Pasdeloup, 17 March 1921; a general stylistic overview of some important compositions but also a defence of Fauré for concentrating on smaller forms rather than symphonic or stage works. 435.

Laloy, Louis. “Gabriel Fauré.” Music Lovers’ Calendar 2 (1906): 77–80.

Mentions similarities and differences between Schubert and Schumann and Fauré; characterizes Fauré as pagan, but in a sober, restrained, French way; finds a unity of style between early and later works.

Bibliography 436.

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Landormy, Paul. La musique française de Franck à Debussy. Paris: Gallimard, 1943. 244pp.

The author devotes Chapter 6 to Fauré (174–95); the opening passage is from Landormy’s 1931 article (item 178); after a biographical sketch, this article rambles oddly as the author expresses his view that the return of French music to the “usages aristocratiques” of the eighteenth century was the result of the movement to symbolism in literature and uses lines from Verlaine’s poem, “Art poétique,” as a metaphorical device to explain the characteristics of Fauré’s style: cites ambiguity of chord function as an essential element of Fauré’s musical language; describes Fauré as a classicist who touches upon impressionism; discusses the circumstances of Verlaine’s writing of La bonne chanson and of Fauré’s setting of this and other texts by Verlaine; treats briefly the style of Leconte de Lisle, as well; rehearses the usual division of Fauré’s output into three periods mentioning a number of his other works. 437.

——. La musique française après Debussy. Paris: Gallimard, 1943. 381pp.

Although the chapter dealing with Fauré is entitled, “Les dernières années de Fauré…,” Landormy does not restrict himself to the end of Fauré’s life; indeed, the piece is for the most part a reworking of his 1931 article (item 178) with a few paragraphs added concerning the songs and the chamber music. The author adds a section discussing the purity of Fauré’s music and its lack to appeal to the general public; cites Jankélévitch’s idea that one must be a musician to appreciate Fauré but chides him for his harshness toward the music of Debussy and Beethoven whose art Jankélévitch views as “impur, encombré d’humanité.” 438.

Lefébure, Yvonne. “Anniversaires: Métier de Pénélope et fil d’Ariane.” Contrepoints 1 (January 1946): 73–81.

Finds similarities between Fauré and Dukas including a innate respect for classical structures which they seek to enlarge and make flexible. Also, observes that with both composers certain works attract attention while others are very little known; notes as example that in the anniversary year for Fauré [1945], much more was written about the compositions of his first period than those of his third; suggests that works like those of Fauré’s maturity have a smaller audience because

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they demand equivalent maturity and experience in the listener; finds that Fauré’s harmonic and melodic styles reveal “une nature voluptueuse et charmeuse…[avec] un accent de gravité….” 439.

Longyear, Rey M. Nineteenth-Century Romanticism in Music. Prentice-Hall History of Music Series, edited by H.Wiley Hitchcock. Englewood Cliffs, NJ: Prentice-Hall, 1969. [x], 220pp.

Longyear devotes only a few pages to Fauré (199–201)78 but deals with a number of aspects of his music; contends that the “grace, elegance, and lightness [of Fauré’s music]…is often mistaken for lack of depth by those oriented toward German music”; contrasts Fauré’s songs with their German counterparts; compares his “supple and flexible rhythm” with this parameter in the music of Schumann and Brahms; discusses the presence of modality in Fauré’s music as well as his use of specific dissonant harmonies; calls Fauré “one of the principal sources of French neo-Classicism” and traces his influence through his pupil, Nadia Boulanger.79 440.

Loyonnet, Paul. “[Gabriel Fauré.]” Typescript of an article, 7pp.80

A brief overview of Fauré’s career emphasizing the unified character of his style; suggests that at the end of his life Fauré worried that he had wasted his creative energies on small, insignificant works. 441.

Maillard, Jean. “Un archange de l’Hellade.” L’éducation musicale 9, no. 9 (June 1954): 15.

Describes Fauré as the continuation of not only the classical French tradition (Rameau and Machaut) but also that of ancient Greece, citing “L’hymne à Apollon,” Pmméthée, and Pénélope; finds that “l’évolution rationnelle de l’esprit hellène” in Fauré’s style is reflected in a number of late works including the Second Piano Quintette, La chanson d’Eve, the Second Violoncello Sonata, and the String Quartet. 442.

Malherbe, Henry. “Le génie de Gabriel Fauré.” In Gabriel Fauré, 3–7. Paris: Les publications techniques et artistiques, 1946.

An assessment in familiar terms of Fauré’s style and place in music history. Malherbe invokes the usual tripartite division of Fauré’s output

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together with the idea expressed by others that aspects of Fauré’s style were evident from his earliest works; describes Fauré as an essentially French composer whose works are (or should be) always in vogue and finds his ancestors in classical French composers (even to his harmonic language), positing a particular connection between Rameau and the third act of Pénélope and mentioning that both Rameau and Fauré had a penchant for seventh chords. 443.

Mellers, Wilfrid. “The Composer and Civilization: Notes on the Later Work of Gabriel Fauré.” Scrutiny, 6, no. 4 (March 1938): 386–401.

An early version of item 444. 444.

——. “The Later Work of Gabriel Fauré.” Chapter 3 in Studies in Contemporary Music, 56–72. London: Dennis Dobson, 1947. Reprint. New York: A.M.S. Press, 1976. ISBN 0-40413046-1

Mellers seeks to understand Fauré’s peculiar position within modern music by a quasi-sociological investigation of the French musical “civilization” which Fauré inherited and which his music embodied. He suggests [after Kœchlin] that the aesthetics of Fauré, as a “‘pure’ musician,” had more in common with that of Bach than with that of the ancient Greeks, as is often maintained: Fauré expanded traditional methods rather than revolting against convention, his music is based on the relationship between melody—remarkable for its length of line— and a melodic bass and is conceived as an ordered and balanced construction; stresses how much Fauré accomplishes with simplicity— “exquisiteness…linked with austerity.” The music of this “great conservative” will never become dated for listeners “who have…a certain measure of general cultivation.” 445.

——. “Two traditionalists: Fauré and Strauss.” Part II, §3 in Man and His Music: Romanticism and the Twentieth Century, 148– 61. New York: Schocken Books, 1969.81

Approximately the same views of Fauré’s music and place in music history as found in item 444 but condensed and, in the discussion of the phrase structure and harmonic language of Fauré’s music, expressed more clearly; refers to Roussel as Fauré’s “natural successor.”

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446.

Milhaud, Darius. “Chronique musicale: Hommage à Gabriel Fauré.” Intentions 2, no. 11 (January 1923): 22–24. Reprinted in two collections of Milhaud’s writings: Études, 35–39, Paris: Claude Aveline, 1927; and Notes sur la musique, edited by Jeremy Drake, 114–16, Paris: Flammarion, 1982. ISBN 2-08064441-6.

Deplores the various currents which have led French music astray since 1880—the pessimism of the Franckists, the boring music of the composers of the Schola Cantorum, the influence of Wagner, the influence of the Russians on the impressionists—but applauds Fauré who, unmoved by outside influences and following his own path the entire time, has written music that will never become dated. For Milhaud, Fauré’s gift is his ability to make the usual less conventional; innovation in his music results from “la fantaisie des modulations et le dessin de ses mélodies.” 447.

Miller, Philip. “The Importance of Gabriel Fauré.” Parts 1, 2. The American Music Lover 28 (December 1936): 238–40, 250, 252 and 29 (January 1937): 289–90, 292.

Brief but insightful, this overview of Fauré’s output mentions the principal compositions of each genre, addresses Fauré’s position in French music, and makes reference to numerous recordings; some of the author’s conclusions seem familiar, others (such as the idea that Debussy’s music owed a great deal to Fauré) are made by other writers, and still others (such as the notion that Fauré’s skill in setting text derives partly from German predecessors) are more original. 448.

Morrison, Bryce. “Fauré Series.” Music and Musicians 28, no. 3 (November 1979): 65–66.

A review of a concert in a series including a number of works by Fauré and accompanied by lectures; Morrison makes the usual observation that Fauré’s music is often not accessible on first hearing; but he also deplores the standard of performance on these occasions because this music is “particularly vulnerable to lack of professionalism or only the vaguest sense of style.”

Bibliography 449.

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Myers, Rollo. Modern French Music: Its Evolution and Cultural Background from 1900 to the Present Day. Oxford: Basil Blackwell, 1971. ix, 210pp. ISBN 0-631-13020-9

Discusses Fauré’s career emphasizing his association with the Conservatoire; while reluctant to place Fauré “among the giants,” deems him a “pioneer” in “his discreetly daring harmonic innovations” (29); in the genre of mélodie, compares Fauré to Schumann and quotes Chantavoine regarding Fauré the song writer as being part of the history “of French poetry and French artistic sensibility” (31); does not feel that the stage works are “representative of [Fauré’s] genius” (33). Important for the examination of the question of Fauré’s “Frenchness” and the reception of his music outside France in the larger context of nationalism and the dominance of German music in the nineteenth century (9, 29). 450.

Nectoux, Jean-Michel. “Gabriel Fauré ou les contraires réconciliés.” Scherzo 17 (November 1972): 7–10.

An essay which seeks to demonstrate by citing a number of works that Fauré’s style (as extension of his personality) is a complex reconciliation of opposites: charm and power, movement and stasis, turmoil and serenity, and so forth. 451.

——. “Fauré vu de l’étranger.” Association des amis de Gabriel Fauré: Bulletin 14 (1977): 3–4.

In a few paragraphs, introduces the articles of this issue of the Bulletin which comment on the reception of Fauré’s music in Russia, Poland, and the Netherlands (items 365, 433, and 474); on the evidence of recordings and editions of Fauré’s compositions originating in a number of other countries, predicts a greater interest yet to come in his music. 452.

Northcott, Bayan. “Fauré Our Contemporary.” Music and Musicians 18, no. 8 (April 1970): 32–36.

An essay which attempts, more successfully than most, to explain why “no composer of comparable stature in the last hundred years is so neglected” and does so by showing how Fauré’s music is difficult for the listener; while Northcott is somewhat self-indulgent in his choice of adjectives and metaphor for the description of specific pieces, there is compensation in the insights he offers in characterizing Fauré’s style and in comparing him and his music with other composers of the period and their works. Pages 38–40 reproduce “Le parfum impérissable.”

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453.

Orledge, Robert. “Fauré en Angleterre.” Association des amis de Gabriel Fauré: Bulletin 13 (1976): 10–16.

A chronicle of Fauré’s visits to England, performances of his works there—including the first performance of “Pleurs d’or” Op. 72, and his business dealings with the publisher, Metzler and Co.82 454.

Orrey, Leslie. “Gabriel Fauré, 1845–1924.” Musical Times 86, no. 1227 (May 1945): 137–39.

Details the inherent contradictions which make difficult a neat classification of Fauré’s work or his place in music history; blames ignorance of Fauré’s music not on its being too French but on “purely musical causes” which he does not identify; believes, unlike Northcott (item 452), that the popularity of Fauré’s music is increasing. 455.

Paderewski, Ignace Jan, and Mary Lawton. The Paderewski Memoirs. New York: Charles Scribner’s Sons, 1938. x, 404pp.

In a paragraph mention of Fauré (141), the author, although dismissive of the familiar comparison of Fauré with Schumann, declares Fauré’s “special place” as a composer of “many beautiful and poetic songs”; finds the chamber music lacking in profundity; does not mention the piano pieces. 456.

Parker, D.C. “Gabriel Fauré: A Contemporary Study.” Monthly Musical Record 48, no. 574 (October 1918): 225–26.

The author begins and ends with the idea that Fauré’s music deserves greater attention than it has had and that, while perhaps not attractive to the general public, it “has much to offer the select few”; mentions particularly Fauré’s songs and piano works praising his careful treatment of text and his effective writing for piano; notes that in some works, Fauré anticipates Debussy. 457.

Patier, Marie-Claire.83 “Fauré et le wagnérisme.” Association des amis de Gabriel Fauré: Bulletin 13 (1976): 5–9.

Traces the slight and temporary influence Wagner’s music had on Fauré’s melodic writing; examples of “chromatisme expressif” are drawn from the third collection of mélodies. The author insists that Wagner’s style had no effect whatever on Fauré’s harmonic language.

Bibliography 458.

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Pitrou, Robert. “Gabriel Fauré.” In De Gounod à Debussy, 79– 110. Paris: Albin Michel, 1957.

After a brief biographical sketch, Pitrou presents a approximately chronological overview of Fauré’s compositions and stylistic development which, while very favorable, is not afraid to point out flaws in lesser works; although he can at times descend to the precious in his treatment of individual pieces, he also can be quite concise as in his summary of the characteristics of Fauré’s piano writing (89) or of the qualities of the third-period vocal works (104); refers to the third period as “un ‘style Pénélope’”; Fauré is also mentioned in the discussions of other composers, among them Bizet whom Pitrou sees, in his harmonic language, as an ancestor of Fauré (64). 459.

Pittion, Paul. “Pourquoi Gabriel Fauré demeure-t-il incompris.” L’éducation musicale 9, no. 9 (June 1954): 6, 13.

Pittion blames Fauré’s lack of popularity on listeners who are not willing to make the necessary effort to understand the subtle thematic development and rapid modulations in Fauré’s music. 460.

Planchet, D. Ch. “Carnet du censeur: Notes sur Gabriel Fauré.” Le censeurpolitique et littéraire 3, no. 1 (4 January 1908): 27–28.

Although occasioned by the performances of Prométhée at the Hippodrome and the Opéra, the article is more a description of Fauré’s style. Planchet considers Prométhée a “happy exception” to the more usual Fauré as found in the vocal works, especially La bonne chanson and the Requiem, where the composer suggests rather than describes; believes Fauré’s harmonic and modulatory innovations to be based on “une logique propre” where chromaticism disturbs only the modality of chords and not their tonality; states further that every artist creates his own language and that it the listener’s responsibility to learn it. 461.

Plantinga, Léon. Romantic Music: A History of Musical Style in Nineteenth-Century Europe. New York: Norton, 1984. xiii, 523pp. ISBN 0-393-95196-0

In a short section devoted to Fauré (444–46), Plantinga concentrates on the same points as Longyear (item 439): the importance of the mélodie within Fauré’s output, his harmonic innovations, and his influence on later music.

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462.

Pontalba, M. “Le centenaire de Gabriel Fauré.” Le Canada français 33, no. 1 (September 1945): 26–38.

After a biographical sketch, a somewhat rambling discussion of Fauré, his place in music history, and his compositional style all described in familiar terms: Fauré, the calm after the storm of romanticism and precursor of Debussy, who wrote a classic, pure music of an intimate character; Fauré, the innovator within established tradition; Fauré, the consummate setter of poetry who captured the essence of the text; Fauré, the gentle critic and revered teacher. 463.

Robert, Frédéric. La musique française au XIXe siècle. Paris: Presses Universitaires de France, 1963. 128pp.

In a good short summary of Fauré’s stylistic development, Robert agrees with many writers about the course of Fauré’s style and the influences upon it; characterizes Fauré as innovator because he pushed the limits of the tonal system he inherited from his models: Chopin, Schumann, Saint-Saëns, Mendelssohn, and Gounod; suggests a larger influence by Wagner than other critics credit and describes Pénélope as the “ultime drame lyrique français dans le prolongement de Wagner.” 464.

Roland-Manuel [Roland Manuel Alexis Levy]. “Massenet, Messager, Fauré” and “Gabriel Fauré.” Chapters 17 and 18 in De Beethoven à nos jours, 156–64 and 165–72. Vol. 3 of Plaisir de la musique. Paris: Éditions de seuil, 1951.

Each of these interviews is the transcription of a radio broadcast. In the first, Roland-Manuel finds the difference between German and French music of the nineteenth century in the hierarchical character of the former which explains every harmony as part of a tonal progression as opposed to the more coloristic use of individual chords in the latter facilitated by the use of modes other than the major and minor; mentions, in this regard, the curriculum of the École Niedermeyer; also maintains that the elegance of French music depends on restraint. In the second interview, the author places Fauré in the tradition of Gounod but deems him more than simply the successor to the older composer; describes Fauré’s compositional development as a gradual rarefaction of his style uninfluenced by the various currents of nineteenth and early twentieth-century music; compares Fauré and Brahms and finds their personalities “incompatibles”—a listener will appreciate the music of either one or the other.

Bibliography 465.

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——and Nadia Tagrine. “Plaisir de la musique, vingtcinquième séance.” Radio script, [n.d.], 10pp.84

In a discussion of the history of musical style, the authors describe French musical culture in the 1880s as too bound up with formulas: there was need to open the windows to clear the air, but Fauré understood that one could open the windows without breaking the glass (“Et Fauré sut comprendre que pour ouvrir les fenêtres, il n’était pas indispensable d’en briser les vitres.”). 466.

Rostand, Claude. L’œuvre de Fauré. Paris: J.B.Janin, 1945.85

Divides Fauré’s output into the conventional three periods and treats each year by year; discussion of works is descriptive, in rather flowery language; includes a list of works. 467.

——. La musique française contemporaine. Paris: Presses Universitaires de France, 1961. 128pp.

Mentions Fauré briefly in the introductory chapter, “L’héritage”; characterizes Fauré’s harmonic usage as “un langage entièrement nouveau” constructed within the rules of traditional harmony (influenced by modality); credits him with bringing the mélodie to perfection. 468.

Ryelandt, Baron. “Gabriel Fauré et l’évolution musicale.” Bulletin de la classe des beaux-arts (Académie royale de Belgique) 23 (1941): 90–95.

The author begins his short lecture with a simple history of nineteenthcentury music which assigns definite roles to various composers; he describes Fauré as an original (“Fauré est surtout lui-même.”) and as “le dernier génie…de la tradition tonale poussée à ses extrêmes limites”; also asserts that of all of Fauré’s works, the Requiem is least characteristic of him. 469.

Saint-Jean, J. [Joseph de Marliave]. “M.Gabriel Fauré.” La nouvelle revue, 1 July 1905, 102–4.

Written on the occasion of Fauré’s appointment as director of the Conservatoire—Marliave is confident that “les destinées de la musique française sont en de bonnes mains”; compares Fauré to Mozart and finds another stylistic ancestor in Racine; suggests that the intimacy of Fauré’s compositions finds resonance in listeners and asserts that this

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music is “la plus franchise” of its time; mentions as one of the characteristics of the music the subtle power of its rhythms (a remark he repeats in his assessment of Prométhée—see item 965). 470.

Sarrautte, Jean-Paul. “Reflexões sobre a arte de Gabriel Fauré.” Gazeta musical e de todas artes 9, no. 93 (December 1958): 189.

Speculates on the reasons for the lack of popularity of Fauré’s music; suggests that the mixture of classical form and innovative modulation (which Sarrautte views as a primary characteristic of Fauré’s style) do not appeal to a twentieth century in which all notion of form has been splintered; adds that Fauré’s use of progression by thirds may make his music even less accessible to the casual listener; likens Fauré to Racine. 471.

Schloezer, Boris de. “Chronique musicale.” La nouvelle revue française 24 (January-June 1925): 122–26.

Schloezer objects to certain generalizations about Fauré: he does not subscribe to the notion that because Fauré’s style is so quintessentially French, it is destined to be misunderstood by other cultures; he also maintains that Fauré stood within a cultural tradition and that his individuality is in his developing and enriching of that tradition and not in his isolation from it, as other writers suggest. Schloezer also complains that Fauré’s virtual canonization by critics since his death has made objective criticism of the music extremely difficult. 472.

Sevilla, Jean-Paul. “Gabriel Fauré.” Clavier 15, no. 4 (April 1976): 14–16.

The author expresses his preference for the second-period compositions, finding the late works “a little static and rather emaciated”; and although he makes vague references to familiar aspects of Fauré’s style, he spends most of the little article chiding those who cannot see the value of Fauré’s music: “Fauré is not for the masses: he is for the gourmets…” and “Fauré is for those rare beings…who continue to believe that music can exist by itself, without any parasitic verbiage.”86

Bibliography 473.

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Shattuck, Roger. The Banquet Years: The Origins of the Avantgarde in France 1885 to World War I. Rev. ed. Freeport, NY: Books for Libraries Press, 1972.87

Makes one reference to Fauré (118): “Chabrier and Fauré were the two most independent and original composers working in France.” 474.

Siguitov, Sergei. “La musique de Fauré en Russie.” Association des amis de Gabriel Fauré: Bulletin 14 (1977): 5–11.

Discusses late nineteenth-century connections between French and Russian composers as well as Fauré’s acquaintance with Taneev, Tchaikovsky, Glazunov and their admiration for his music; cites the varied critical response to Fauré’s works played during his visit to Russia in 1910; suggests that Stravinsky’s neo-classicism finds its roots in Fauré; makes a fleeting comparison of Fauré’s style with that of Bartók; credits Marguerite Long’s visit to Russia in 1955 with renewing interest in Fauré’s compositions. 475.

Smith, David S. “Modern Music: A Suggestion.” Yale Review 12, no. 1 (October 1922): 98–109.

Makes a distinction between composers who employ “new tone languages” such as Schoenberg and those who stretch the system of tonality such as Ravel; finds it difficult to listen to some twentiethcentury music because, unlike tonal music, it is not based on expectation which leads either to its fulfillment or to surprise at fulfillment denied. Fascination with harmony has prevented composers from exploring “the opening for development offered by melody”—and it is this parameter that Smith suggests composers could learn much from Fauré, “a leader whom future composers may follow with assurance.” 476.

Solenière, Eugène de. Cent années de musique française (1800– 1900): Aperçu historique. Paris: Pugno, 1901. 110pp.

Contains one line about Fauré (102) within a long list of composers: “G.Fauré, compositeur élégant de bonne musique de chambre.” 477.

Spalding, Walter R. Music: An Art and a Language. Boston: Arthur P.Schmidt, 1920. 342pp.

In the paragraph devoted to Fauré (297f), the author praises the compositions for voice and for piano upon which he has determined that Fauré’s fame rests.

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478.

Speculum [?]. “Note di passaggio: … Fauré.” La rassegna musicale 11, nos. 7–8 (July-August 1938): 293–96.

Notes the formation of the Société des amis de Gabriel Fauré and speculates on the general ignorance of Fauré’s music even in France: suggests that Fauré composed his early works when only music for the stage was appreciated and that when tastes changed in the new century, Fauré was already elderly, isolated, and cast in the popular mind as the antithesis of Debussy; believes that the most important of Fauré’s compositions are the works for piano. 479.

Spitzmüller-Harmersbach, Alexander. “Streit um Fauré.” Anbruch, September-October 1935, 255–57.

The author begins with the question of why Fauré is so little appreciated in Germany (as Bruckner and Mahler are in France); but with his characterization of Fauré’s music as intimate, requiring repeated listening, appealing only to the musically educated (particularly professional musicians), and of a style distanced from the mainstream, he succeeds only in suggesting why Fauré’s music is difficult for a listener of any nationality to comprehend. 480.

Stœcklin, Paul de. “L’anémie.” Courrier musical 14, no. 13 (1 July 1911): 462–65.

Within a larger essay expressing his philosophy of music, the author remarks that Fauré’s grandeur is in the immediacy of his music for the listener and that his harmonic language is generated by his melodies. 481.

Strickler, Rémy. La musique française du romantisme à nos jours. Paris: La documentation française, 1966. 96pp.

A book with many illustrations designed for a popular audience but providing, nonetheless, an adequate summary of Fauré’s career. The section on Fauré (32–3) is found within Chapter 3, “L’épanouissement”; Strickler begins by discussing the position of Fauré (and of Ravel and Debussy) in relation to both the distant and immediate past and to innovation; divides Fauré’s works into three periods, the partition differing only slightly from the usual; underscores the oft-repeated idea that Fauré’s music demands participation from the listener and does not have the appeal works of mere virtuosity do; concludes by selecting six pieces (all chamber works) as Fauré’s most important compositions.

Bibliography 482.

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Strobel, Klaus. “Zur Fauré-Rezeption in Deutschland.” In Gabriel Fauré: Werk und Reception, edited by Peter lost, 186– 96. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

A detailed chronicle of the reception of Fauré’s music in Germany not only in the concert hall but in the writings of music historians, lexicographers, and critics; suggests several reasons for ignorance of Fauré’s music in Germany: an emphasis on innovation in composition, a traditional hostility between German and French musical cultures (“die »Feindschaft« zwischen der deutschen und französischen Musikultur”), and the difference in the historical development of music in the two countries from the nineteenth century onward. 483.

Stuckenschmidt, H.H. “Gabriel Fauré.” Melos 14 (1947): 326–28.

Deplores the ignorance of Fauré’s music in Germany; is of the opinion that Fauré is much more than “a French Schumann,” that he expanded nineteenth-century harmony just as radically as Debussy but in a different direction; describes Fauré’s style (after Kœchlin) as Classical, colored by plainchant and modality, and concerned most with the linear aspect of music; characterizes Fauré as a precursor of modern music and asserts that it is beginning to be clear how much “the new French school and thereby the music of the world [die neuere französische Schule (und damit die Musik der Welt)]” is obliged to Fauré. 484.

Suckling, Norman. “Homage to Gabriel Fauré.” Monthly Musical Record 74, no. 858 (July-August 1944): 124–28.

Suckling describes Fauré as “a civilized composer with an agile mind”; in this concise article he examines the restraint of Fauré’s style as well as its clarity—“the characteristic French virtue”—and his place in music history as a continuation of the eighteenth century uninfluenced by Wagner, Liszt, or even Beethoven; implies that Fauré is a quiet revolutionary within the tonal system and that his harmonic innovations are “as significant for the future as those of Debussy himself.” See also item 485. 485.

——. “Gabriel Fauré, Classic of Modern Times.” Music Review 6, no. 2 (May 1945): 65–71.88

In a short article, Suckling accomplishes an analysis of various trends in nineteenth and twentieth-century music and shows that France’s reaction to romanticism as articulated by German diatonicism made

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possible the career of Fauré, who is seen both as a link to music before Beethoven and as a counterbalance to “expressionism,” a term which for Suckling encompasses almost all German music of the twentieth century. See also item 484. 486.

Tardif, Cécile. “Fauré and the Salons.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

The author contends that much of Fauré’s music has endured an undeserved reputation as trivial, salon music partly because the real nature of the salon has been misunderstood; such gatherings actually made an artistic contribution by providing an audience for such genres as serious chamber music, which was ignored in public concerts in favor of orchestral music and opera.89 487.

Taube, Lotte. “Gabriel Fauré—ein französischer Musikpoet.” Deutsche Rundschau 70, no. 4 (1947): 25–27.

An overview of Fauré’s compositions; places Fauré among the greatest of nineteenth century French composers; asserts the influence of Schumann and Chopin on his style which is described as Hellenic and intimate; emphasizes the melancholy in Fauré’s music; suggests that Fauré’s musical scruples were responsible for his waiting until late in life to attempt an opera and a string quartet; agrees with the idea that Fauré was less a musical revolutionary than a composer who used the familiar in innovative ways. 488.

Tiersot, Julien. “Gabriel Fauré.” Zeitschrift der internationalen Musikgesellschaft 7 (1905): 45–52.

Written as a description of the new director of the Conservatoire, the article begins by pointing out that Fauré has not composed an opera or a symphony and ends by hoping he will do so; however, the author does appreciate Fauré’s compositions and, after a short biographical sketch, gives an overview of them—with a few peculiar emphases: connects the Lydia theme with Greek modes and Fauré’s Attic nature and suggests, as well, that popular concerts by military bands could serve music education if more original music, like Prométhée, were written for them. In general, Tiersot believes that Fauré’s works are central to his aesthetic and that the piano music continues the tradition of Chopin and Schumann.

Bibliography 489.

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——. “Gabriel Fauré et l’école de Saint-Saëns.” Chapter 9 in Un demi-siècle de musique française: Entre les deux guerres (1870– 1917), 165–76. Paris: Félix Alcan, 1918.

The section on Fauré (165–72) includes a biographical sketch followed by a brief overview of Fauré’s compositions; repeats ideas and wording from item 488. The author traces a development which in the vocal works culminates in La bonne chanson and in other genres is characterized as a continual refinement; refers to Pénélope as Fauré’s crowning achievement and speaks of the composer’s embodiment of “l’esprit de hellénisme”; also credits Fauré with being the precursor of “l’art quintessencié de la jeunesse contemporaine”—indeed, elsewhere in the book (222) mentions Fauré as one of several composers who anticipated Debussy. 490.

Torchet, Julien. “Gabriel Fauré.” Les hommes dujour: Annales politiques, sociales, littéraires et artistiques, 12 April 1913, 2–4.

Torchet affirms his affection for Fauré’s music but says again (see item 313) that he cannot give a reason for his attachment; paints Fauré’s music not only as intimate but also as art which should be experienced by an audience of only a few people at a time who eliminate distraction by having their eyes closed and by insisting that the performers be out of sight; comments that Fauré’s music criticism seems gentle but that the reader must read between the lines to find the real meaning; includes some biographical information. 491.

Ulrich, Homer, and Paul A.Pisk. A History of Music and Musical Style. New York: Harcourt, Brace & World, 1963. viii, 696pp. ISBN 0-15-537720-5

Ulrich believes Fauré’s “great contribution to the music of his generation was a subtle, reserved, and wonderfully expressive harmonic style”; further describes this style as one which shows the modal influence of chant and in which the tonal center is never truly obscured; credits Fauré with “exert[ing] a strong influence on the development of twentieth-century music” partly through his teaching.90 492.

Vierne, Louis. “Silhouettes d’artistes: Gabriel Fauré.” L’echo musical 1, no. 12 (December 1912): 1–3.91

Vierne presents an assessment of Fauré’s most important compositions (which do not include the works for piano [!]): of the Requiem, Vierne’s

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introduction to the works of Fauré, mentions particularly the Offertoire; of the chamber music, likes especially the [first] quintet and wishes Fauré would compose a sonata for cello and piano; also knows the mélodies by heart. Vierne also points out that Fauré has created a style, perhaps influenced by Franck and Chopin, but very much his own. 493.

Vuillermoz, Émile. “Gabriel Fauré.” Le théâtre et la musique 2, no. 7 (August-September 1917): 14.

Partly a tribute which traces Fauré’s career and partly a characterization of the composer’s style in familiar terms: restraint, simplicity, and audacious harmonic language; also commends Fauré’s literary sensibility, often lacking in other musicians, which contributes to his success in setting texts. 494.

——. “Gabriel Fauré.” La revue musicale 4, no. 11 (October 1922): 10–21.

Praises Fauré the man for his modesty and perennial youthfulness and Fauré the composer for his craftsmanship and his ability to express himself with modest means; considers the “importance historique indiscutable” of Fauré, Debussy, and Ravel but deems Fauré to have been much more revolutionary than either of the other two and, as well, to have been “le…véritable gardien” of the French tradition during French music’s flirtation with Wagner and other things German; cites Fauré’s genius as a teacher who had a great respect for the past but was free of any dogma; credits Fauré’s humanistic education at the Niedermeyer School for his ability to appreciate poetic texts; draws a few phrases from item 493. 495.

——. “Gabriel Fauré.” Chapter 27 of Histoire de la musique, 327–40. Paris: Arthème Fayard, 1949.92

Vuillermoz credits Fauré together with Debussy and Ravel with reinvigorating post-romantic French music. He describes Fauré as “l’homme de son œuvre,” meaning that he finds a consistency between Fauré’s character and that of his style; repeats his description of Fauré’s teaching93; compares Fauré’s contribution to harmony with that of Bach to counterpoint; points out that Fauré could be as expressive in writing for the piano as others could in composing for orchestra; discusses briefly Fauré’s output genre by genre; restates the notion that the music

Bibliography

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of Fauré, like that of Brahms, is too much tied to its ethnic heritage to appeal to audiences outside its home country. See also items 34, 144, 187, 772, 808, and 1039. Fauré’s influence on later composers 496.

Bernard, Robert. “Maurice Ravel” and “L’école fauréenne: Florent Schmitt, Louis Aubert, Roger Ducasse.” In Les tendances de la musique française moderne: Cours d’estihétique [sic], 75–88, 89–102. Paris: Durand, 1930.

Having discussed Fauré’s style (61–73; see item 370), Bernard here discusses those composers upon whom Fauré had a great influence; suggests that for Ravel the influence of Fauré balanced that of Debussy; for “l’école fauréenne,” the master’s influence manifested itself in a respect for logic and technique, a disregard for the mode of the moment, and a sense of personal balance; remarks elsewhere (“Les mouvements d’avant-garde et l’avenir de la musique française,” 130f) that French music would profit from the leadership of another musician like Fauré. 497.

Broughton, Laura Lee. “A Study of the Unpublished Solo Songs of Theodore Chanler.” D.M.A. dissertation, University of Southern Mississippi, 1994.

Asserts that Chanler was influenced by Fauré’s music through his studies with Nadia Boulanger.94 See item 507. 498.

Calvocoressi, Michel D. “Modern French Composers: I.—How They Are Encouraged.” Musical Times 62, no. 938 (1 April 1921): 238–40.

This article concerning state subsidies for music in France has one sentence about Fauré who is described as “a peerless instructor whose pupils stand foremost among the younger generation of French composers.” 499.

Fischer, Pénélope A.P. “Philippe Gaubert (1879–1941): His Life and Contributions as Flutist, Editor, Teacher, Conductor, and Composer.” D.M.A. dissertation, University of Maryland, 1982.

The author asserts the strong influence of Debussy and Fauré on Gaubert.95

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500.

Flemm, Eugene W. “The Solo Piano Music of Robert Helps.” D.M.A. dissertation, University of Cincinnati, 1990.

The author reports Helps’s acknowledgment of Fauré’s influence on his compositional style.96 501.

Galant, Jed A. “The Solo Piano Works of Frank Bridge.” D.M.A. dissertation, Peabody Institute of the Johns Hopkins University, 1987.

Discusses the influence of Fauré on Bridge’s early style.97 502.

Gavoty, Bernard. Les souvenirs de Georges Enesco. Paris: Flammarion, 1955. 196pp.

Memoirs drawn from radio interviews with Enesco; particularly useful for Enesco’s impressions of Fauré as teacher (69–72); gives a list of Fauré’s composition pupils (70); deals elliptically with Fauré’s views of Debussy’s music. 503.

Hansen, Robert H. “The Songs of Lennox Berkeley….” D.M.A. dissertation, University of North Texas, 1987.

Asserts the influence of Fauré on Berkeley through Nadia Boulanger. 504.

Hirsbrunner, Theo. “Bohuslav Martinu°: Die Soloklavierwerke der Dreißiger Jahre.” Archiv für Musikwissenschaft 39, no. 1 (1982): 64–77.

Makes a very fleeting reference to Fauré’s late style in reference to emotional tension and release in Martinu°’s music; also places Fauré in a group of composers who sought new harmonies within diatonicism rather than in the chromaticism of Schoenberg. 505.

——. “Honegger und Fauré.” In Gabriel Fauré: Werk und Rezeption, edited by Peter lost, 180–85. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

Examines the personal and artistic connections between the two composers, noting how unusual it was for a composer of Honegger’s generation to admire Fauré’s music; cites some specific influences of Fauré’s style on Honegger’s compositions.

Bibliography 506.

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Honegger, Arthur. Je suis compositeur. Paris: Éditions du conquistador, 1951. 157pp. Translated by Wilson O.Clough and Allan A.Willman as I Am a Composer. London: Faber & Faber, 1966. 141pp.

Honegger relates that at first Fauré seemed to him a salon composer but that with time he came to appreciate him as much as he did Debussy (107); indeed, considers that Fauré’s music exhibits “du génie à chaque mésure” (109); also notes (37) that Fauré, even toward the end of his life, could not afford a permanent membership in the Société des auteurs, compositeurs, et éditeurs de musique. 507.

Kolb, Bruce L. “The Published Songs of Theodore Chanler.” D.M.A. dissertation, Louisiana State University, 1976.

Cites the influence of Fauré and Stravinsky on Chanler.98 See item 497. 508.

Laloy, Louis. La musique retrouvée. Paris: Plon, 1928. 296pp.

Almost no mention of Fauré except to proclaim his sincerity and to list a number of his students, characterized as “les meilleurs musiciens de la génération nouvelle” (135f). 509.

Mellers, Wilfrid. Francis Poulenc. Oxford: Oxford University Press, 1993. xvii, 186pp. ISBN 0-19-816337-1

Makes vague references to influences on Poulenc by Fauré and other composers without supplying either documentary evidence or musical examples. See item 556. 510.

Nies, Otfrid. “‘Ganz du selbst sein’: Der Komponist Charles Kœchlin (1867–1950).” Neuland 5 (1985): 256–70.

Within a survey of Kœchlin’s compositional output, the author quotes from a letter from the composer to Henri Sauguet in which Kœchlin states that the most important influences on him were Gounod, Chopin, and Bach, and, subsequently, Chabrier and Fauré. 511.

Orledge, Robert. Charles Kœchlin (1867–1950): His Life and Works. Vol. 1 of Contemporary Music Studies. Chur, Switzerland: Harwood Academic Publishers, 1989. xxvi, 457pp. ISBN 3-7186-4898-9

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Fauré is mentioned throughout the book—see particularly references to Fauré as teacher, discussion of the founding of the Société musicale indépendante, and comparison of the harmonic languages of the two composers; as for Fauré’s influence on Kœchlin: “Kœchlin’s Gods were Bach and Fauré, with Mozart, Debussy, Chabrier and Satie following close behind” (249). 512.

Radice, Mark A. “An Interview with Daniel Pinkham.” American Organist 31, no. 8 (August 1997): 56–61.

Pinkham cites the late style of Fauré as one of the most important influences on his own composition citing particularly a connection between Fauré’s String Quartet and his own. 513.

Rostand, Claude. “A Survey of Contemporary Music…: France.” In Twentieth Century Music, edited by Rollo H. Myers, 175–83. 2d ed. London: Calder and Boyars, 1968.

In describing Henri Dutilleux, asserts that “he has certain affinities with the previous generation, notably Fauré and Ravel….” 514.

Stegall, Gary M. “Joseph Jongen: A Study of His Life, Times and Music for Solo Piano.” D.M.A. dissertation, University of Maryland, 1990.

Asserts the influence of Fauré, Debussy, and Ravel on Jongen.99 515.

Wiseman, Daniel. “Gabriel Fauré and the French Musical Renaissance.” Contemporary Review 127 (1927): 333–40.

The author takes an evolutionary view of music history and draws conclusions which the modern reader will find odd even for an article of its time. Wiseman certainly views the professional and personal Fauré differently from most writers: sees Fauré as the heir of Berlioz and the rescuer of the natural course of romanticism in France after it was led astray into extreme referentialism by the earlier composer; portrays Fauré, the teacher, as “a leader of the rising generation” who actively worked “to protect the new French school from…foreign thought” and who—together with Berlioz, Lalo, Wagner, and Brahms—formed “the heritage that descended to Debussy.” See also items 175, 394, 398, and 403.

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Technical Discussions 516.

Almendra, Julia d’. Les modes grégoriens dans l’œuvre de Claude Debussy. Thesis, Institut Grégorien de Paris. Paris: [the author?], 1950.

In a section on modality in the works of Fauré (53–58), the author asserts that the influence of the modes on Fauré’s style has been exaggerated. She asserts that in spite some modal allusions on the surface of certain pieces, “le langage grégorien” does not form the music’s basic structure. Almendra does list a few pieces which may, however, borrow specific chant melodies as themes. 517.

Austin, William W. “Tonalität und Form in den ‘Préludes’ Op. 103 von Gabriel Fauré.” In Bericht über den internationalen musikwissenschaftlichen Kongress, Berlin 1974, edited by Hellmut Kühn and Peter Nitsche, 399–401. Kassel: Bärenreiter, 1980.

The author is interested in understanding how Fauré’s characteristic harmonic usage contributes to the overall coherence of his compositions. Concentrating his brief (and, as he indicates, preliminary) discussion on the third Prélude in g minor, he asserts— without explaining his meaning—that “Fauré constructs form from melody whose tonal center is almost always uncertain”100; also suggests an overall tonal scheme for the entire “cycle” of Préludes. 518.

Carraud, Gaston. “L’âme harmonique de Gabriel Fauré.” Musica 77 (February 1909): 19–20.

Characterizes Fauré’s harmonic usage as an extremely liberal tonality which is at the heart of his style; also remarks that anyone who was amazed that Fauré should compose pieces like the Requiem or Prométhée simply had not understood the depth of his songs and chamber music: “Sa pensée et ses precédés ont pu se grandir suivant qu’il était nécessaire: ils sont au fond toujours les mêmes.” 519.

Chailley, Jacques. “Notes sur la modalité chez G.Fauré.” L’éducation musicale 9, no. 9 (June 1954): 4, 19.

Pointing out that so-called modal passages do not appear in Fauré’s early compositions or in his smaller sacred works, Chailley concludes

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that the supposed influence on Fauré’s style of Niedermeyer’s method of harmonizing plainchant has been overstated; suggests instead that as Fauré’s style matured, modal elements surfaced in it but always as ornament to an increasingly subtle tonal structure; hints that the harmonic theories of Gustave Lefèvre were a more important influence. 520.

——. “A propos de quatre mesures de L’Entführung: La renaissance de la modalité dans la musique française avant 1890.” In Bericht über den internationalen musikwissenschaftlichen Kongress Wien 1956, 78–91. Graz: H.Bohlaus Nachf., 1958.101

Begins by mentioning apparent modal passages in works of Mozart and Gluck, but concentrates on the growing use of modal elements in French music from about 1830 (Berlioz) to about 1890 (Fauré); shows that such modal allusions are usually harmonized tonally and are often used for dramatic color in opera and oratorio. 521.

Cooper, Martin. “Some Aspects of Fauré’s Technique.” Monthly Musical Record 75, no. 866 (May 1945): 75–79.

Cooper begins by listing characteristics of French art and music and by reiterating the widely-held opinion that Fauré’s music is the best and most complete expression of them; concerns himself primarily with details of texture and their effect on voicing of piano pieces or on the mood of a song; cites the influence of Schumann and Chopin in terms of these specifics. His discussion of formal and harmonic techniques is less precise and less successful. 522.

Dommel-Diény, Amy. L’harmonie vivante. Neuchatel: Delachaux et Niestlé/Paris: A.Dommel-Diény, 1958–.

A series of volumes devoted to the study of harmony: Vol. 1, L’harmonie tonale—Regards sur l’évolution du langage harmonique; Vol. 2, De l’analyse harmonique à l’interprétation (including a supplement, Trois analyses completes, originally published separately); Vol. 3, 300 leçons d’harmonie…; Vol. 4, Contrepoint et harmonie…; Vol. 5 (in 18 fascicules, not all of which were published), L’analyse harmonique en exemples de J.-S. Bach à Debussy. Vol. 2 includes a brief discussion of “J’allais par des chemins perfides” Op. 61, No. 4 (104–8) and Theme and Variations Op. 73 (116– 24); its supplement presents an analysis of “Les berceaux” Op. 23, No. 1. Three fascicules of Vol. 5 are devoted to detailed examination of other

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compositions; Fasc. 12: Theme and Variations Op. 73, First Nocturne Op. 33, No. 1, Sixth Nocturne Op. 63, and Thirteenth Nocturne Op. 119; Fasc. 13: “Prison” Op. 83, No. 1, “Les roses d’Ispahan” Op. 39, No. 4, “Le secret” Op. 23, No. 3, “Au cimetière” Op. 51, No. 2, L’horizon chimérique Op. 118; Fasc. 14 (apparently unpublished): First Violin Sonata Op. 13,102 First Piano Quartet Op. 45. Dommel-Diény’s contribution to the analytical examination of Fauré’s music is important. Its method has roots in traditional Roman numeral analysis, but it also rebels against viewing music as only a succession of verticals, characterizing a number of dissonant combinations as the result of “mélodies ornées simultanément” (2:123). She repeats this linear analytical stance in her discussion of Op. 118, No. 4 (5, fasc. 13:66): “…il devient évident que l’identification d’accords reliés à un système particulier ne revêt plus qu’une importance secondaire. C’est toujours le jeu des lignes qui provoque les rencontres harmoniques, comme chez tous les classiques….” 523.

Dunwell, Wilfrid. The Evolution of Twentieth-Century Harmony. London: Novello, 1960. 240pp.

The author makes one reference to Fauré in the context of the attention he pays to Debussy: “The singling out of Debussy…does less than justice to the influence of others like Chabrier, Fauré, and Satie, who helped in applying the essentially French antidote to romantic exuberance” (74, note). 524.

Gervais, Françoise. Étude comparée des langages harmoniques de Fauré et de Debussy. Paris: Éditions de La revue musicale, 1971.103 189pp.

A very detailed examination of numerous passages from the works of Fauré and Debussy using an analytical method rooted in key relationships and traditional Roman numeral analysis of verticals. The author considers, as well, evidence of modal influences on both composers; concludes that while Fauré’s language is harmonically based, that of Debussy is concerned with melody and rhythm; also contends that while Fauré, building on the language of his predecessors, takes tonality to its limits, Debussy is more a counterrevolutionary freeing himself from his immediate predecessors (141f); terms both composers classicist in the tradition of Costeley and Couperin (143) and notes that this aesthetic is evident earlier in Fauré’s output than in that of Debussy.

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525.

——. “La merveilleuse leçon d’harmonie de Gabriel Fauré.” L’éducation musicale 30, no. 212 (November 1974): 44–48.

The article’s focus is the discussion of a distinction between modulation and a more transient prolongation of a harmony, the “groupe introtonal”; two songs—“Le parfum impérissable” Op. 76, No. 1 and “La rose” Op. 51, No. 4—furnish the examples. The author considers the changing nature of consonance in the nineteenth century in general and in Fauré’s music in particular, locating Fauré’s harmonic usage at the end of the evolution of functional tonality. She characterizes music theory in France (in Fauré’s time and at present) as divided between figured bass theory on the one hand and Rameauian ideals on the other and insists that the latter position (which she maintains formed the basis for Fauré’s education at the École Niedermeyer) is the best one from which to understand Fauré’s music. 526.

——. “Le rythme harmonique de Gabriel Fauré.” Études fauréennes 17 (1980): 25–33.

Views Fauré as the last exponent of functional harmony, developed into a language unique to him. By “harmonic rhythm,” Gervais refers to the alternation of tension and release in tonal music caused by harmonic progression; she demonstrates how Fauré’s use of chromaticism, elision of cadences, and contradictory tonal relationships contribute to a diminishing of tension and, hence, of the effect of release producing, thereby, the serenity that is the hallmark of his style. 527.

Greer, Taylor A. “Tonal Process in the Songs of Gabriel Fauré: Two Structural Features of the Whole-tone Scale.” Ph.D. dissertation, Yale University, 1986.

An examination of melodic whole-tone relationships in middleperiod works, specifically whole-tone motions viewed as successions of linked major thirds which outline a minor sixth and whole-tone transpositions of vertical structures as realizations of unfoldings prolonging underlying bass motions; comments on the relationship between such whole-tone structures and the text in several songs; considers Fauré’s “most radical experiments with the whole-tone scale” over larger spans of music in late-period works (Op. 115/III; Op. 72; Op. 95, No. 6; Op. 102).

Bibliography 528.

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Gut, Serge. “Die Verflechtung von Modalität und Tonalität in der Musik von Gabriel Fauré.” In Gabriel Fauré: Werk und Rezeption, edited by Peter Jost, 152–62. Kassel: Bärenreiter, 1996. ISBN 3–7618–1271-X

Observing that references to modal scales appear not in Fauré’s earliest compositions but rather in those of the late 1880s and after, Gut proposes a more complicated explanation for such modal references than other writers who propose a simple causal relationship between Fauré’s education and his style; notes that Fauré’s music often mixes modality and tonality104 and, with examples drawn from the vocal and piano music as well as the Requiem, shows that modal ambiguity usually occurs in the melodic line and that, while the harmony may be fluid, it eventually establishes the tonality of the piece; in other cases, the so-called modal harmony is explained by the counterpoint of a given passage; refers to Fauré’s modification of dominant function as that which gives his style originality and sets it apart from that of Debussy, Ravel, or Chabrier. (Compare item 539.) 529.

Kidd, James. “Louis Niedermeyer’s System for Gregorian Chant Accompaniment as a Compositional Source for Gabriel Fauré.” Ph.D. dissertation, University of Chicago, 1973.

The author argues that the Niedermeyer system of chant accompaniment had a profound effect on Fauré’s style, particularly in the vocal works where the text provided artistic coherence freeing the music to greater ambiguity and most especially in those songs of “a general atmosphere of melancholy and introspection” (283); finds a modal influence on harmony in instrumental music even though larger forms adhere to clear tonal procedures for the articulation of structure; maintains, further, that another influence on Fauré of the Niedermeyer system was “the weakening of meter to promote an effect of smooth, uniform continuity” (298); harmonic analyses are based on traditional Roman numerals whereas metric and rhythmic analyses show the influence of Grosvenor Cooper and Leonard Meyer. 530.

——. “Tonality in a New Key.” In Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B.Meyer, edited by Eugene Narmour and Ruth A.Solie, 375–92. Stuyvesant: Pendragon, 1988.

Using as examples a number of melodies disassociated from their harmonic settings, among them the opening of the Thirteenth Barcarolle,

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the author discusses “degrees of tonality,” itself defined as “a sounding of degrees of tension and resistance,…the individual character of musical motion.” 531.

Kœchlin, Charles. “Les tendances de la musique moderne française.” In Part 2 of Encyclopédie de la musique et dictionnaire du Conservatoire, edited by Albert Lavignac, 2:56– 145. Paris: Delagrave, 1930.

This long article begins with a characterization of the various currents in French music in the first half of the twentieth century and continues with examples of contemporary practices first by parameter—harmony, counterpoint, modulation, rhythm, and thematic development—and then by genre—theater, symphony and symphonic poem, piano, song, and so forth. Kœchlin treats Fauré deferentially and finds no one with whom to compare him in the field of vocal music; also asserts that young composers such as Les Six, who are less revolutionary than they themselves might believe and who owe a great deal to the past, should spend more time investigating Fauré’s music and should consider him as an example to be followed.105 532.

Kurtz, James L. “Problems of Tonal Structure in Songs of Gabriel Fauré.” Ph.D. dissertation, Brandeis University, 1970.

Describes the structure of Fauré’s music as based on the establishment of a tonal center more “through the use of contrapuntal motions and melodic relationships…than traditional tonal function” (5), with familiar harmonic progression often limited to the background level if present at all; lists “stylistic features of Fauré’s music upon which his use of contrapuntal means of organization depends” (7–16); contends that many so-called modulations are the result of the harmonization of “melodic inflections” (16); analyzes “Les presents” Op. 46, No. 1 and “Puisque l’aube grandit” Op.61, No. 2; asserts that the influence of modality on Fauré is found not in literal borrowings from modal scales but in the linear character of the musical structure, “the neutralization of a strongly weighted root movement by fifth,” and mode mixture (72). 533.

Laloy, Louis. “The Music of the Catholic Church and French Music.” Music Lovers’ Calendar: A Yearly Publication for Musicians and Music Lovers (Urbana) 2 (December 1906): 28–32.

A peculiar article that deals not with church music but rather with the supposed influence of the modality of chant on the harmonic

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vocabularies of Fauré, Debussy, and Ravel. The author suggests that the Italians were not so affected because their music had for two centuries been “reduced by the operatic style which has even invaded the church”; he also believes the understanding of different schools of composition to be limited by ethnic background and social class. 534.

Lenormand, René. Étude sur l’harmonie moderne. Paris: Max Eschig, 1913. 142pp.

Examples drawn from a number of late nineteenth and early twentiethcentury composers, including Fauré, to illustrate “modern practices” which are described as licenses within traditional, vertically oriented, tonal harmony. 535.

——. A Study of Twentieth-Century Harmony: Volume One— Harmony in France to 1914. Translated by Herbert Antcliffe. London: Joseph Williams, 1915. 142pp.

An English translation of item 534 expanded by a companion volume, Mosco Carner’s Contemporary Harmony (London: Joseph Williams, [1942]). 536.

Nectoux, Jean-Michel. “A MM. les critiques sur les orchestrations de Gabriel Fauré.” Le guide musical 658 (March 1975): 2.

Citing the existence of documentary evidence, including autograph manuscripts, Nectoux contradicts assertions by a number of critics106 that Fauré orchestrated virtually none of his orchestral works. Nectoux insists that Fauré orchestrated all his compositions with orchestra, with a few exceptions: Kœchlin provided the orchestration for the London premiere of Pelléas et Mélisande, but Fauré completely reworked it for the publication of the suite; because of pressures of time Fauré assigned the orchestration of about one fifth of Pénélope to François Pécoud— just as Debussy and Saint-Saëns had done with certain of their compositions. 537.

——. “Les orchestrations de Gabriel Fauré: Légende et vérité.” Schweizerische Musikzeitung/Revue musicale suisse 115, no. 5 (September-October 1975): 243–49.

An expanded and more detailed version of item 536 which considers more works and presents more explicitly the documentary evidence.

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538.

——. “Works Renounced, Themes Rediscovered: Eléments pour une thématique fauréenne.” 19th Century Music 2, no. 3 (March 1979): 231–44.

Examines the recurrence of thematic material in Fauré’s compositions as a result of the deliberate reuse by Fauré of musical materials or of certain themes’ having become, unconsciously, “archetypes” peculiar to his style; cites certain “thematic cells,” such as the “Lydia” theme, which occur in a number of pieces as well as other motives which connect pairs of works; considers that thematic similarity is often useful in confirming the dating of Fauré’s compositions; discusses Fauré’s tendency in old age to borrow from youthful compositions for orchestra which were unsuccessful and left uncompleted; sees thematic recurrences in Fauré’s music as “the most striking manifestation of…unity” in his output. 539.

Phillips, Edward R. “Smoke, Mirrors and Prisms: Tonal Contradiction in Fauré.” Music Analysis 12, no. 1 (March 1993): 3–24.

An examination of the ways in which distortions in rhythm and voiceleading on the surface of Fauré’s music obscure and even contradict the tonal structure of underlying middleground motions; shows that the static nature of certain middleground prolongations, such as extended neighbor notes or arpeggiations, does not project the inaudible tonal organization of the background of a piece to the audible surface—as result, the foreground remains tonally ambiguous, and the sense of functional tonality in Fauré’s music is further weakened. 540.

——. “The Organic Nature of Sonata Form in Fauré.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

Examines the first movements of the two violin sonatas (Opp. 13 and 108) to determine what aspects of the tonal relationships which define classical sonata form remain in these works of the late nineteenth and early twentieth centuries; demonstrates Fauré’s re-creation of sonata form by the substitution of a static background structure based on the interruption of an arpeggiation of the tonic triad for the traditional interruption form involving a linear descent.

Bibliography 541.

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Reid, Sarah J. “Tonality’s Changing Role: A Survey of NonConcentric Instrumental Works of the Nineteenth Century.” Ph.D. dissertation, University of Texas, 1980.

An examination of pieces which end in a key different from that in which they begin as a measure of the erosion of tonality’s control over formal structure; notes that such works are “notably absent in the instrumental compositions” of a number of composers, among them Fauré.107 542.

Sobaskie, James. “Allusion in the Music of Gabriel Fauré.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

The author rejects the idea that Fauré was intentionally ambiguous in his harmonic language; contends rather that Fauré used “allusion”— implication rather than statement of specific tones or chords, brief reference to distance tonalities, and hints at modal structures; understanding Fauré’s music depends then on the listener’s being musically aware and willing “to participate in an interactive process.”108 543.

Tait, Robin. The Musical Language of Gabriel Fauré. Outstanding Dissertations in Music from British Universities.109 New York: Garland Publishing, 1989. ii, 382pp. ISBN 0-82402043-X

The author defines “musical language” after the theories of Deryck Cooke 110 which maintain that music in the period from Dufay to Stravinsky communicates emotions by events which are universal signals. An examination of Fauré’s harmonic usage is based on an approach which uses traditional Roman numeral analysis111 and chord description to label foreground vertical configurations in order to catalog those chords, progressions, and cadences which are hallmarks of Fauré’s style; Tait views this style as an amalgam of modality and tonality, the result of Fauré’s training in plainsong accompaniment together with his exposure to the theories of Gustave Lefèvre at the Niedermeyer school. Other chapters examine Fauré’s melodies for recurring theme types (see also item 538) and for meaning (again after Cooke), discuss how the “apparent conservatism” of Fauré’s rhythmic usage disguises a “flexible rhythmic technique” (here invoking the philosophy of Henri Bergson), and explore an admittedly vague notion of form in certain genres of Fauré’s music. An appendix considers Fauré’s compositional process as revealed in representative manuscripts.

252 544.

Gabriel Fauré: A Guide to Research Review: Norton, Kay. Notes 47, no. 3 (March 1991): 761f.

Praises the “fair amount of analytical detail” and considers the monograph an important contribution. 545.

Review: Smith, Richard L. Music & Letters 72, no. 4 (November 1991): 646–47.

Challenges some of Tait’s assertions about harmonic usage before Fauré and criticizes as imprecise other aspects of his theoretical presentation but also praises the discussion of the teaching of harmony at the Niedermeyer school; notes that the “mingling of speculative opinion with musical analysis” will not appeal to all readers. 546.

Vincent, John. The Diatonic Modes in Modern Music. Berkeley: University of California Press, 1951. xi, 298pp.

A theory which integrates functional tonality and the diatonic modes; examples are drawn from the works of many composers including a number from Fauré’s compositions. See also items 73, 80, and 555. Concerning modality, see also items 14, 42, and 555. Songs and duets 547.

Anon.112 «Concerts Durand» consacrés à la musique française moderne 1910–1913: Programmes et notices analytiques. Paris: Durand, [n.d.]

Notes to a concert of 27 February 1912 which included the Poème d’un jour Op. 21 praise Fauré as a song composer and credit him with recreating the genre in France and with inventing new forms within it. 548.

Abraham, Hélène. Un art de l’interprétation: Claire Croiza, les cahiers d’une auditrice. Paris: Office de centralisation d’ouvrages, 1954. 368pp.

An account of Croiza’s teaching (based on the author’s recollections of Croiza’s masterclasses) which includes observations on the interpretation of Fauré’s vocal music; underscores Fauré’s dislike of

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rubato and, thus, the need to maintain an absolutely steady tempo; asserts that Fauré was a composer whose scores made clear all he wished from a singer113; notes that Fauré treats a text differently from Debussy, both in the details of text setting and in the basic approach to the poetry. Also discusses a scene in Pénélope which she finds problematic dramatically. See item 551. 549.

Ackere, Jules van. De kamermuziek en het lied van Corelli tot Debussy. Hasselt: Uitgeverij Heideland, 1967. 220pp.

One of a long series of pocket books on many subjects; considers the chamber music or the Lieder of a number of composers from Mozart to Debussy as genres of “intimate music.” The section on Fauré is very brief (14 pages) and is divided into a general discussion of his style and a more specific consideration of the songs; entirely descriptive with no musical examples; a minor source. 550.

Aguettant, Louis. “Le lied français: Les mélodies de Gabriel Fauré.” Le courrier musical 6, no. 3 (1 February 1903): 34–36.

Compares Fauré with Schumann noting specific points of similarity and difference in style; traces a development in Fauré’s treatment of the form; suggests that the poetry is the starting point for Fauré’s art and that similar songs are settings of similar texts; discusses the wellknown thematic relationships of La bonne chanson. 551.

Bannerman, Betty, ed. and trans. The Singer as Interpreter: Claire Croiza’s Master Classes. London: Victor Gollancz, 1989. 208pp.

The editor’s foreword describes the book as “a translation of some of Claire Croiza’s Master Classes from the 1930s” which is designed to give English speakers access to the same material presented by Hélène Abraham (item 548); some of the material from Croiza’s informal “causeries” has been reorganized for ease of reading. Chapters include a biographical sketch of Croiza, her thoughts on various aspects of vocal technique, and her discussions of the works of various composers; the section on Fauré (79–95) offers technical and interpretive advice on the performance of representative songs from the three collections, La bonne chanson, and La chanson d’Eve. Includes a discography and biographical notes by Patrick Saul.

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552.

Barnard, Monty J. “… A Comparative Study of the Melodies of Gabriel Fauré and Claude Debussy….” D.M. dissertation, Northwestern University, 1974.

Not seen; the complete title indicates that songs by Brahms (Op. 33) and cantatas of J.S.Bach are also discussed. 553.

Beaunier, André. “Festival Gabriel Fauré.” Journal de l’Université des Annales 6, tome 1, no. 5 (15 February 1912): 284–90.

Similar to the lecture by Bourgeat given in the same circumstances four years earlier (item 563). Beaunier compares Fauré with Schumann and praises Fauré’s skill at setting the spirit of a text; devotes most of the lecture to La chanson d’Eve (which he deems a masterpiece) but considers only the hypothetical “plot” which he reads into the poetry. 554.

Bell, A.Craig. “An Aspect of Brahms’s Lieder” Music Review 52, no. 3 (August 1991): 190–94.

A discussion of form in Brahms’s songs; comments very briefly on Fauré: that his songs are his most memorable compositions and that he, like Wolf, is closer to Schumann than to Schubert. 555.

Beltrando-Patier, Marie-Claire. “Les melodies de G.Fauré.” Thèse d’état, Université de Strasbourg II, 1978; published Lille: Service de reproduction des thèses, 1981.

Given Fauré’s destruction of most of his sketches and that the small number of manuscripts remaining are formal copies for the engraver or for friends, the author chooses editions of the songs as her authority114. Discusses Fauré’s harmonic language cataloging specific usages in it which produce ambiguity (466) and dismissing as significant influences upon it both Fauré’s study of plainchant accompaniment and Lefèvre’s harmonic theories115 (468ff); includes examples of melodic, harmonic, and formal analysis; contends that a number of melodic and rhythmic gestures (“archétypes thématiques”) refer to specific emotions (581–92). 556.

——. “The Inheritance from G.Fauré in the Formation of the Contemporary Vocal Style.” In Art Nouveau and Jugendstil and the Music of the Early 20th Century, 113–16. Miscellanea Musicologica: Adelaide Studies in Musicology, Vol. 13. 116

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Adelaide: Libraries Board of South Australia and Department of Music, University of Adelaide, 1984. Credits Fauré with the creation of the genre of mélodie and of the style of concert singing; asserts Fauré’s influence on later composers of song (particularly Poulenc) and, in melodic writing and counterpoint, of instrumental music; speaks of general characteristics of Fauré’s style (“French clarity, charm and reason”) and their communication to his students; finds a connection between Fauré’s “lyrical and continuous” melody and its harmonization by “chords, created by counterpoint… stretch[ing] out over wide areas of tonal stability.” 557.

Berger, Jean. “On Accompanying Fauré.” NATS Bulletin117 26, no. 4 (May-June 1970): 18–21.

Begins with a discussion of Fauré’s choice of poetry and the relationship between his texts and his musical style as prelude to suggestions for interpretation illustrated by specific examples; mentions particularly Fauré’s own performance style (as described by his own teacher, Louis Aubert) which reconciled a rhythmic stability in the left hand with a rhythmic flexibility in the right hand.118 558.

Bernac, Pierre. The Interpretation of French Song. New York: Praeger; London: Cassell, 1970. Reprint. New York: W.W. Norton, 1978. xvi, 327pp. ISBN 0-393-00878-9 (p)

By one of the best-known interpreters of French song, this performance manual discusses technical matters in singing, particularly in singing French; the largest part of the book provides illustrations in the works of composers from Berlioz through Poulenc; the section devoted to Fauré discusses thirty-seven of his songs including the cycles, La bonne chanson and L’horizon chimérique. An important work for performers. 559.

Review: Desmond, Astra. Music and Letters 51, no. 3 (July 1970): 310–11.

A very favorable review. 560.

Review: Grubb, Thomas. Notes 27, no. 3 (March 1971): 480–82.

A more detailed review than item 559 but equally laudatory.

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561.

Beydts, Louis. “Les mélodies.” In Gabriel Fauré, 31–37. Paris: Les publications techniques et artistiques, 1946.

The author’s description of Fauré as an ordinary man blessed by genius (as opposed to the great composer, larger than life) is a fanciful invoking of the romantic stereotype of the artist, but it is also testament to the modesty which is often attributed to Fauré. After suggesting that the genre of song reveals Fauré best, the essay provides a brief descriptive survey of Fauré’s output for voice and piano; while some titles are treated merely to capsule descriptions in excessively flowery language, others are correctly identified as important points in Fauré’s stylistic development; makes the familiar comparison to Schumann. 562.

Bland, Stephen F. “Form in the Songs of Gabriel Fauré.” Ph.D. dissertation, Florida State University, 1976.

Divides Fauré’s songs into three formal categories: strophic, “partform patterns” (arrangement of contrasting sections such as ABA, AAB, and so forth), and “sequence patterns” (essentially through-composed); groups the techniques by which Fauré either articulates formal divisions or obscures them into “punctuation,” “connection,” and “elision.” 563.

Bourgeat, Fernand. “Festival Fauré.” Journal de l’Université des Annales 2, tome 2, no. 19 (10 June 1908): 426–33.

Suggests that Fauré is the only composer of Lieder who can be considered the successor to Schubert and Schumann but that Fauré’s mélodies, while equal to those of his predecessors, reflect his own special personality. See item 553. 564.

Brussel, Robert. “Les ‘lieder’ de Gabriel Fauré.” Musica 77 (February 1909): 21–22.

Discusses the different meanings of Lied in France and Germany; attributes to Fauré the restoration (or, perhaps, the creation) in France of this genre, which is the one best suited to his genius, and compares his historical position with that of Schubert; at the same time, indicates the differences between Fauré’s song style and those of Schubert and Schumann; believes Verlaine to have been the perfect poet for Fauré before his interest in the poetry of Van Lerberghe resulted in a “nouvelle manière” in his composition; concludes that there is in a song by Fauré more real music than in an entire opera.

Bibliography 565.

257

Champagne, Mario J.S.G. “The French Song Cycle (1840– 1924) with Special Emphasis on the Works of Gabriel Fauré.” Ph.D. dissertation, University of North Carolina, 1994.

Deals with the song cycle from the early works of Massenet and Widor through Debussy and Ravel; discusses the early history of the form with reference to Schumann and Berlioz (Les nuits d’été). Discussion of Fauré’s cycles shows that the early examples are unified by recurring musical material while the later ones find continuity more in their texts; the author also suggests avenues of further research in lesser-known cycles of other composers (Auric, Honegger, Milhaud, Poulenc, et al.) and in cycles for voice and orchestra or small instrumental ensemble. An important work. 566.

Daitz, Mimi S. “Les manuscrits et les premières éditions des mélodies de Fauré: Étude préliminaire.” Études fauréennes 20– 21 (1983–1984): 19–28.

The author and Jean-Michel Nectoux have undertaken an edition of Fauré’s works for solo voice and piano based on the manuscript sources and on editions published before 1924. Using three songs from different periods of Fauré’s life as examples, the article presents the specific difficulties in comparing published editions for variants: revisions, particularly in the piano accompaniment, to accommodate publication in various keys; changes (including some which are typographical errors) in various parameters of the music such as pitch, tempo, dynamics, phrasing; changes in text underlay. An important article.119 567.

Elson, James. “The Songs of Gabriel Fauré.” NATS Bulletin 38, no. 5 (May-June 1982): 16–19.

A brief chronology of Fauré’s life and of his output for voice and piano; quotes extensively from other scholars. 568.

Fabre, Michel, ed. A propos de Henri Duparc, Gabriel Fauré: Souvenirs de Magdeleine et Charles Panzéra. [Pau]: [the author], 1972. 19pp.

Brief memoirs of the two artists including the conversation with Fauré in which he asks the Panzéras to give the first performance of L’horizon chimérique.

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569.

Gallet, Mme Maurice. Schubert et le lied. Paris: Perrin, 1907. 301pp.

Includes a biography of Schubert together with a discussion of his Lieder and their interpretation, a brief overview of the genre in France, Italy, and Germany, and chapters devoted to individual composers and the “École russe.” In the chapter on Fauré (157–65), describes his music with the familiar adjectives: graceful, nuanced, intimate; indicates that Fauré was concerned with setting the sense of the text more than its exact prosody and compares him to Mozart in this regard; discusses “Clair de lune,” “Soir,” “Les berceaux,” and “Mandoline”; has reservations about La bonne chanson—“Elle module trop.” (164); declares Fauré the direct successor to Schumann. 570.

Gregh, Fernand. “La Grisélidis de Massenet.” La revue de Paris 6, no. 8 (November-December 1901): 668–84.

The first section of this article discusses the rebirth of national schools, in particular the French, in the waning of the influence of Wagner’s music; refers to Fauré as the “Verlaine de la mélodie” and the successor to Schumann. 571.

Hall, James H. The Art Song. Norman: University of Oklahoma Press, 1953. ix, 310pp.

In chapters devoted to individual composers or national schools including the brief “Contrast of German and French Song” in which the difference between the two styles are presented in a table in point form; the chapter on Fauré (147–57) follows one on “French Song” (with sections devoted to Gounod and Saint-Saëns) and treats very briefly general characteristics of Fauré’s song style as well as certain familiar pieces from “Lydia” to La bonne chanson. Somewhat superficial. 572.

Imberty, Michel. Entendre la musique: Sémantique psychologique de la musique. Paris: Dunod, 1979. xvi, 236pp. ISBN 204-010920-X

The author, on the basis of statistical analysis of the results of elaborate experiments in which subjects listen under a variety of conditions to “En sourdine” and “Mandoline” as set by Debussy and Fauré and record their impressions, appears to come to the conclusion other writers have made about the two composers: that Fauré sets the general sense of

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Verlaine’s texts while Debussy takes care with individual words within the text. 573.

Kinsinger, Dan Howard. “The Seven Song Collections of Gabriel Fauré.” D.Mus.A. dissertation, University of North Carolina at Chapel Hill, 1971, 211pp.

Divides Fauré’s song cycles and collections into middle period (Poème d’unjour, Cinq melodies ‘de Venice,’ La bonne chanson), transition (La chanson d’Eve), and last period works (Le jardin clos, Mirages, L’horizon chimérique) by consideration of parameters of Fauré’s style such as melodic intervals and range, keys, meter, tempi, form, phrase length, modal usage, and presence of motive. 574.

Klingsor, Tristan [Léon Leclère]. “Les musiciens et les poètes contemporains.” Le mercure de France 142 (November 1900): 430–44.

In spite of its title, this article deals with a variety of subjects related to the mélodie. Its first section is a catalog of contemporary vocal compositions mentioning as many poets and composers as possible; at the end of this section, the author does award a larger discussion to Fauré, “le véritable musicien de Verlaine,” treating particularly his “Clair de lune” in both fanciful and technical terms; there follow a glance at opera, a brief listing of the historical influences on the mélodie (invoking, as usual, the German Romantics but, more originally, Franck instead of Gounod), a discussion of the increasingly important role of the piano, remarks about the greater variety of musical rhythm over that of poetic rhythms (see items 657 and 659), a catalog of mélodies influenced by folksong, and an admonition to composers not to write their own texts; the article concludes with the comment that the combination of poetry and music (“cette fusion de deux arts voisins”) is characteristic of the modern French song. 575.

Kœchlin, Charles. “La mélodie.” Chapter 5 in Cinquante ans de musique française de 1874 à 1925, edited by Ladislas Rohozinski, 2:1–62. Paris: Librairie de France, 1925.

In the section of the article devoted to Fauré (23–31), Kœchlin provides capsule characterizations of very many of Fauré’s songs and creates thereby a complex history of Fauré’s stylistic development (with

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occasional references to genres other than song); announces definite opinions about the relative quality of the songs—although none are ever deemed to be less than adequate and lapses of quality are often blamed on mediocre texts; makes mention of specific aspects of Fauré’s harmonic language; provides a phycological explanation for the youthful quality of the late works. 576.

Kostka, Violetta. “Pies´n´ francuska w pierwszej polowie XX wieku [The French Song in the Earlier 20th Century].” In Aspekty muzycznego wykonawstwa, 137–46. Gdan´sk: Akademia Muzyczna im. S.Moniuszki, 1993.

A survey of the French song from Fauré to Boulez; considers “the text, the wider musical context, the relationship between the music and the text, and the general character of the songs.”120 577.

Lockspeiser, Edward. “The French Song in the 19th Century.” Musical Quarterly 26, no. 2 (April 1940): 192–99.

The subjects of this article are more specific than its general title implies; Lockspeiser provides a history of the predecessor of the mélodie, the romance; suggests as principal characteristic of the mélodie “a new sense of musical declamation…moulded on the inflections of the spoken word” and credits Verlaine with the inspiration of the genre and of “the finest songs of Debussy…and…Fauré”; errs, however, when he states that Verlaine and Fauré were not personally acquainted. 578.

——. “Fauré and the Song.” Monthly Musical Record 75, no. 866 (May 1945): 79–84.

A critical survey, often condescending in tone, of Fauré’s music for voice and piano using selected songs as examples; asserts that Fauré was unconcerned for “the details of inflection and emphasis demanded by the prosody” of his texts (but see items 657 and 659) and restricted “his approach [to text-setting] to purely musical considerations” but then provides specific examples of madrigalisms in several songs; dismisses La chanson d’Eve and Lejardin clos as “for the Fauréans only” and mentions Mirages and L’horizon chimérique not at all; errs in the statement that Fauré’s engagement to Marianne Viardot was broken shortly before 1892 and was somehow the inspiration for La bonne chanson.

Bibliography 579.

261

Mauclair, Camille. “Le ‘lied’ français contemporain.” Musica 7, no. 74 (November 1908): 163–64.

A history of the genre of the mélodie whose development he credits to the poetry of Verlaine and the inspiration of Wagner’s merging of text and music; describes the contributions of Duparc and Chausson; mentions nearly every living composer of song and characterizes Fauré as the most admired of these, praising La bonne chanson, lists performers, as well. 580.

——. “La musique française: La constitution de l’école française actuelle.” In Histoire de la musique européenne, 148– 66. Paris: Librairie Fischbacher, 1914.

Includes a single sentence describing Fauré as one of those who restored the Lied in France and praising, particularly, his settings of Verlaine’s poetry. 581.

Meister, Barbara. An Introduction to the Art Song. New York: Taplinger, 1980. 224pp. ISBN 0-8008-8032-3

An historical treatment of the genre of the art song from its roots in the baroque through the early twentieth century; chapters are devoted to individual composers, to schools, or to nationalistic movements. In the short chapter on Fauré, the author describes a number of important songs, including La chanson d’Eve, but does not mention the last two cycles. However, the descriptive style which characterizes item 583 is here even more the language of program or liner notes; there are historical inaccuracies, as well, including the wrong date for Fauré’s death. 582.

Review: Scherer, Barrymore L. Notes 37, no. 3 (March 1981): 582–84.

Provides a favorable review of the book as a guide to the genre for the amateur; also praises item 583 enthusiastically, comparing its importance with that of Noske’s earlier work (item 589). 583.

Meister, Barbara. Nineteenth-Century French Song: Fauré, Chausson, Duparc, and Debussy. Bloomington: Indiana University Press, 1980. xiii, 402. ISBN 0-253-34075-6

Discusses all the published songs of the four composers; in each case, the piece is treated to a line-by-line description which mentions details

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of diction or harmonic or melodic interest; texts are translated. The book seems intended for performers although it would serve more as a kind of general guide to interpretation rather than as a singing manual dealing with matters of technique. The introduction sets the music in its cultural context and provides very brief biographical sketches of the composers; short bibliography and index of first lines. 584.

Review: Orledge, Robert. Music and Letters 62, nos. 3–4 (JulyOctober 1981): 442–43.

A highly critical review, rather savage in tone, which describes the book as “unscholarly, often superficial and critically suspect,… confus[ing] analysis with description”; admits the usefulness of the translations of texts. 585.

Review: Raynor, Henry. Music Review 43, no. 2 (May 1982): 150–51.

A brief, non-critical review which recommends the book to performers and listeners. 586.

Review: Wehmeyer, Grete. Neue Zeitschrift für Musik 142, no. 3 (May-June 1981): 300–301.

The reviewer is critical of the book which, in spite of the amount of information it contains, is historically naive and provides no real guidance in interpretation for performers; wonders, at the same time, if it is not too detailed to be useful as program notes for the average concert-goer. See also item 582. 587.

Méraly, Jacques. “Gabriel Fauré: L’homme et le musicien—La bonne chanson” La revue musicale 3 (1903): 622–28.

The author begins with a biographical sketch which mentions Fauré’s important compositions and his refined and totally original musical language; makes general comments about the cycle; examines “J’ai presque peur” in detail demonstrating, sometimes fancifully, how each musical parameter serves to express the text; discussion of Fauré’s treatment of metrical structure less sophisticated than that of Fortassier (items 657 and 659).

Bibliography 588.

263

Moore, Stacy. “Mort exquise: Representations of Ecstasy in the Songs of Duparc and Fauré.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

Using songs of the two composers as examples, the article examines the tension in the relationship between text and music which can be produced by music’s distortion of the very text it is setting; this occurs when the voice, attempting to represent the ecstasy which the text conveys, becomes itself the object of attention—when it is “overvocalized” (after Kramer).121 589.

Noske, Frits. La mélodie française de Berlioz à Duparc: Essai de critique historique. Amsterdam: North Holland Publishing Company; Paris: Presses universitaires de France, 1954. xii, 356pp. 2d edition rev. Frits Noske and Rita Benton, trans. Rita Benton. New York: Dover, 1970. xiv, 454pp.

A history of the genre of mélodie from its origins in the romance; also sets the genre in the context of its counterpart, the Lied; devotes a chapter to “literary aspects of the mélodie” and discusses the principal poets. Fauré is mentioned throughout the book, but—given the stated scope of the work—only his first collection of songs is treated in detail; discusses the pieces in terms of structure (form, phrase structure, motive), melodic line, prosody, harmony, and general style. Includes bibliography, song catalog, and appendices one of which is the first publication of Fauré’s “L’aurore” WwO. The preface to the second edition makes clear the minor revisions to the first edition. An important work. 590.

Orrey, Leslie. “Gabriel Fauré, 1845–1924:1. The Songs.” Musical Opinion 68, no. 811 (April 1945): 197–98.

The opening paragraph recounts accurately the major events of Fauré’s life but betrays the author’s ignorance of biographical details; lists the principal songs with very little commentary; remarks that Fauré tended to set the works of one poet at a time throughout his life; establishes textural categories to describe piano accompaniments; suggests that Fauré’s tendency to conjunct motion in his themes reflects his acquaintance with plainsong. The first of two articles on Fauré, the second of which deals with the chamber music (see item 815).

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591.

——. “The Songs of Gabriel Fauré.” Music Review 6, no. 2 (May 1945): 72–84.

Of larger scope than item 590, this article is a detailed survey, illustrated by musical examples, tracing Fauré’s stylistic development through his works for voice and piano; concerned with technical aspects of the music itself, particularly Fauré’s harmonic practice, and not with the treatment of the texts; describes Fauré’s mature style as linear in conception and simple in texture (although not in harmony); asserts Fauré’s influence not only on his pupils but on Debussy many of whose compositional techniques find subtle antecedents in Fauré’s writing. 592.

Parigi, Luigi. “Del ‘lied’ contemporaneo: In Francia.” Rivista musicale italiana 21, no. 4 (1914): 127–49.

A varied and complex article which discusses the nature of the Lied, notes the difference between it and French song as it developed from the romance, and indicates Fauré’s position in this history; mentions the various poets whose verse Fauré set but concentrates on Verlaine and Van Lerberghe and draws musical examples from La bonne chanson and La chanson d’Eve; speaks in general of Fauré’s harmonic technique which is found to be orthodox, particularly in its voice-leading, and draws its apparent complexity from the arrangement of simple elements (such as chains of seventh chords); deals with the characteristic “demimerger” of voice and piano; gives examples of subtleties of text expression; treats the motivic aspect of La bonne chanson; finds La chanson d’Eve unsuccessful and arid; suggests a tripartite form (in the rhetorical sense) for most of Fauré’s songs. 593.

Pennington, Kenneth D. “A Historical and Stylistic Study of the Mélodies of Gabriel Fauré.” Mus.D. dissertation, Indiana University, 1961.

Traces the history of the genre in France from the romance; presents evidence for the existence of style periods in Fauré’s compositional output based on analysis of songs in a number of parameters including melodic structure, meter, form, use of thematic material, key and harmonic structure.122

Bibliography 594.

265

——. “Gabriel Urbain Fauré (1845–1924).” NATS Bulletin 31, no. 2 (December 1974): 34–39 and 31, no. 3 (February-March 1975): 26–32, 50.

A chronicle of Fauré’s life and career with emphasis on the more important works for voice and piano; brief history of the genre of mélodie; some commentary about Fauré’s compositional style and a few examples of motivic analysis applied to middle period works; short bibliography and detailed chronological chart of the songs; appears to be drawn from item 593. 595.

Planel, Jean. “Gabriel Fauré et le chant.” L’éducation musicale 9, no. 9 (June 1954): 16.

Suggests Fauré’s songs, especially the sixty from the three early collections, as a group of etudes for specific problems of vocal technique. 596.

Ravel, Maurice.123 “Les melodies de Gabriel Fauré.” La revue musicale 4, no. 11 (October 1922): 22–27. Reprinted in Ravel par lui-même et ses amis, edited by Jacques Bonneure, 52–64. Paris: Maule, 1987.124

Ravel believes that it is in the songs that Fauré’s genius is most evident and that he is not praised enough for them; traces Fauré’s lineage (as well as that of Chabrier) in this genre from Gounod and finds the influence of Gounod later in Fauré’s output than do other writers; alludes to a difference in the harmonic techniques of Chabrier and Fauré; charts “une nouvelle manière” in Fauré’s composition from La bonne chanson and characterizes it by an increased importance given the harmonic element within Fauré’s style; mentions how well Fauré’s songs suit the voice as instrument. 597.

Rouet de Journel, J. “Un maître de la mélodie: Gabriel Fauré.” Études 181, no. 24 (20 December 1924): 705–9.

Describes all of Fauré’s music as essentially melodic and suggest that Fauré is less appreciated outside of France because it is in melody that the music of various cultures differs most markedly; finds that Fauré’s vocal works are superior to those of his antecedents in their modernity—“pleins d’originalité tout en restant classiques”—in the treatment of texts (themselves well-chosen and of high quality), and in the care and attention accorded the accompaniment.

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598.

Ruiz Conde, José M. “El lied romántico.” Temporadas de la música 8, no. 1 (1989): 49–55.

A discussion of romanticism as expressed in the vocal works of a number of composers, including Fauré; characterizes Fauré as “específicamente francés” and asserts that the special quality of French song derives from French poetry which is constructed according to “musical principles”; describes the piano in Fauré’s songs as having the same grace and sensibility as the vocal line. 599.

Sauguet, Henri. “French Song: Some Notes.” Parnassus 10, no. 2 (Fall-Winter 1982): 251–55.

A brief essay on song by “French composers of this century [who] have treated the word in different and distinctive ways”; the differences are stated in vague and general terms and are not clarified by musical examples. The author asserts that Fauré intended his songs to be an extension of the romanticism of Schubert and Schumann, that in his songs “the music wins out over the text,” that twentieth-century French music finds its source in Debussy as innovator, and that Poulenc’s vocal works have been as influential as those of Fauré. 600.

Schouten, Hennie. Drie franse liedercomponisten: Duparc, Fauré, Debussy. Amsterdam: Uitgeversmaatschappij Holland, 1950. 147pp.

The section on Fauré (53–87) deals with representative works from Fauré’s early songs through the middle period cycles, including “Chant d’automne,” “Après un rêve,” “Les berceaux,” “Clair de lune,” “En sourdine,” “Green,” “Soir,” “Accompagnement,” and songs from La bonne chanson and La chanson d’Eve’, treats the texts briefly and discusses the music in terms of thematic organization, key areas, and harmonic details; no table of contents or index. 601.

Servières, Georges. “Lieder français V: Deuxième recueil125 et mélodies récentes de Gabriel Fauré.” Le guide musical 44, no. 4 (23 January 1898): 71–74.

Recites the first performances of the songs126 as historical background to a discussion of changes in Fauré’s style; the author is not afraid to be critical and is even reserved in his praise for some pieces; implies that Fauré’s sensitivity to poetic texts results in two categories of song: those

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which are appealing for various musical reasons and those which, in addition, express profound emotion; mentions the complete integration of the piano and voice in certain pieces; recants a bit in his previous praise of La bonne chanson (see item 620); suggests the influence on Fauré of Niedermeyer as a song composer; objects to the orchestration of songs, intimate pieces lost in large conceit halls, even if the adaptation is done by Fauré himself. 602.

——. “Lieder français: Gabriel Fauré (nouvelle série).” Le guide musical 59, nos. 31–32 (3 and 10 August 1913): 523–27.

Sequel to items 601 and 620; suspects, erroneously, that the two songs of Op. 87 are resurrected from Fauré’s youth; considers the poetry of Mendès banal but improved by Fauré’s setting of it; partly because of the text, the author does not care much for La chanson d’Eve except for those songs he feels recall earlier works—indeed, cares little for the austere style of Fauré’s late works; makes the insightful observation that while Fauré’s harmony often seems complicated, it is much less so if it is heard as the result of elaborate counterpoint (in this regard, see item 539). 603.

Sommers, Paul B. “Fauré and His Songs: The Relationship of Text, Melody and Accompaniment.” D.M.A. dissertation, University of Illinois, 1969.

An examination of Fauré songs which concentrates on the choice of text (including a discussion of whether form or content of the poetry was the reason for its selection), the treatment of the text (detailed representation of the words or expression of its general mood), and the role of the piano. 604.

Strobel, Klaus. “Das Liedschaffen Gabriel Faurés.” Ph.D. dissertation, Erlangen, in progress.

605.

Suckling, Norman. “The Songs of Fauré.” The Listener 33, no. 844 (15 March 1945): 305.

A small, remarkable article which demonstrates how the style of Fauré’s song-writing is, within the development of the genre of mélodie, the logical result of a reaction to romanticism and to the obvious emotion of the Lied; extols the collaboration of Fauré and Verlaine. Very worthwhile.

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606.

Vuillermoz, Émile. “Le lied de Gabriel Fauré.” Musica 130 (July 1913): 137.

Compares Fauré’s music to the countryside of L’Ile de France and says that it is too French to be understood elsewhere (“Un lied de Fauré…ne supporte pas l’exportation.”); asserts on the one hand that one must have culture rather than simply a technical education in music to understand Fauré but indicates on the other that it is through careful examination of Fauré’s apparently abstruse harmonic writing that it is revealed to be quite neat and logical; insists that the songs of Fauré owe nothing to the romantic Lied tradition and surpass the works of both Schubert and Schumann. 607.

Winterhager, Wolfgang. “Zu Struktur und Function der Klavierbegleitung in Gabriel Fauré’s »Mélodies«.” In Gabriel Fauré: Werk und Rezeption, edited by Peter lost, 114–29. Kassel: Bärenreiter, 1996. ISBN 3–7618–1271-X

An examination of the role of the accompaniment in Fauré’s mélodies; considers the prelude of songs, the degree and nature of the coincidence between the keyboard part and the vocal line, and the figuration of the keyboard part in relation to the text; cites “Nocturne” Op. 43, No. 2, “Diane, Séléné” Op. 118, No. 3, and “En sourdine” Op. 58, No. 2. See also items 323, 394,456,457,480, 527, 532, 539, 726, and 1065. La fée aux chansons, Op. 27, No. 2 See item 80. Les roses d’Ispahan, Op. 39, No. 4 608.

Maillard, Jean. “Gabriel Fauré (1845–1924): Les roses d’Ispahan, op. 39, no. 4.” L’éducation musicale 29 (1973– 1974): 270–75.

Begins with a biographical sketch of Fauré; includes a history of the genre of mélodie; sees this song and “Clair de lune” (see item 611) as marking a turning point in Fauré’s style; discusses Op. 39, No. 4, treating the poem, Fauré’s sensitivity to its metrical structure, and the form of the song before embarking upon a detailed analytical description of the music.

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Nocturne, Op. 43, No. 2 See item 607. Clair de lune, Op. 46, No. 2 609.

Bruyr, José. “Les mélodies qu’il faut savoir chanter: Clair de lune.” Musica (Chaix) 84 (March 61): 33–37.

Article is divided into sections: biographical sketches of Verlaine and Fauré followed by discussions of the poem and the song (which locate the works in their creators’ œuvres but otherwise say little about either the text or the music) and quite useful remarks about the interpretation of both the vocal line and the accompaniment. 610.

Favre, Georges. “Les grandes figures de la musique française contemporaine: Gabriel Fauré (1845–1924).” Bulletin mensuel de l’Union française des œuvres laiques d’ éducation artistique 5, no. 34 (January 1950).127 Reprinted, at least in part, in the author’s Musiciens français modernes: Essai d’initiation par le disque, 43–51. Paris: Durand, 1953.128

A short article including a biographical sketch mentioning a number of Fauré’s important compositions followed by a description of “Clair de lune” and the four songs of L’horizon chimérique; stresses the originality of Fauré’s harmonic usage; short bibliography and discography. 611.

Maillard, Jean. “Gabriel Fauré: Clair de lune.” L’éducation musicale 29 (1973–1974): 312–14.

Examines Op. 46, No. 2 in the same fashion as item 608 does Op. 39, No. 4. 612.

Panzéra, Charles. “Cours d’interprétation: Clair de lune.” Musica (Chaix) 29 (August 1956): 18–20.

An enthusiastic tribute to the piece and a description of the effects a performer should produce; however, there is none of the useful technical direction which the same author provides for the interpretation of L’horizon chimérique in item 646.

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613.

Udine, Jean d’ [Albert Clozanet]. “Paris, le 18 décembre 1902 [concert review].” In Paraphrases musicales sur les grands concerts du dimanche (Colonne et Lamoureux), 1900–1903, 202–4.129

Compares “Clair de lune” to a painting of Watteau; admires the music for Shylock, as well, but suggests that it will not appeal to the general public because “c’est de l’art trop français.” 614.

Youens, Susan L. “Gabriel Fauré’s ‘Clair de lune’ Op. 46, No. 2.” NATS Bulletin 37, no. 1 (September-October 1980): 32–34.

The author demonstrates how Fauré represents Verlaine’s poetic landscape through modal (that is, major-minor) and tonal ambiguities, rhythmic and textural subtleties, varied repetition of melodic material, and formal arrangement of the accompaniment. La rose, Op. 51, No. 4 See item 525. Cinq mélodies ‘de Venise’, Op. 58 615.

Cahn, Peter. “Faurés A Clymène Op. 58 Nr. 4: Uberlegungen zur »forme nouvelle« in den Cinq mélodies »de Venise«.” In Gabriel Fauré: Werk und Reception, edited by Peter lost, 130–41. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

Examines the thematic references Fauré makes to “Green” and “En sourdine” in “A Clymène” and considers the nature and degree of cyclic form of the group of five songs; cites the views of Lockspeiser, Kœchlin, and Nectoux; concludes by asserting that any “new form” finds its origin in Fauré’s close attention to Verlaine’s text. 616.

Paap, Wouter. “‘En sourdine’ van Paul Verlaine, Fauré-DebussyDiepenbrock.” Mens en melodie 1, no.6 (June 1946): 188–92.

Compares the settings of Verlaine’s text by Fauré, Debussy, and Alphons Diepenbrock (1910) paying special attention to the depiction of the nightingale mentioned in the poem’s fifth stanza; locates Diepenbrock’s style in this piece midway between those of the other two composers. See also items 607, 651, 652, 662, 680, and 681.

Bibliography

271

La bonne chanson, Op. 61 617.

Bellaigue, Camille. “Revue musicale: Quelques chansons.” Revue des deux mondes 143 (15 October 1897): 924–36.

The author begins by suggesting that whether called romance, Lied, or mélodie, a song should be simple and natural; not surprisingly, he finds La bonne chanson distressingly illogical (“la musique…d’un decadent ou d’un primitif”) and prefers instead Fauré’s earlier compositions not plagued by “des modulations incessantes”; refers to Fauré as a melancholy and refined musician; by expressing his doubt that these melodies could be so called without their accompaniments, inadvertently affirms the subtle interdependence of voice line and piano. 618.

Jaques-Dalcroze, Émile. “La bonne chanson.” Gazette musicale de la Suisse romande 18 (1 November 1894): 207–11.

Deals first with the text and continues by deeming the music a masterpiece of deceptive complexity; finds the songs well constructed in that the passing modulations never completely obscure the principal tonality; speaks of Fauré’s originality observing that he does not indulge in the useless modulations and tiresome repetitions which mar the works of Brahms and Bruckner130; notes the importance of the piano part which is often in dialogue with the voice. 619.

Ladmirault, Paul. “G.Fauré: La bonne chanson.” Le courrier musical 3, no. 13 (31 March & 7 April 1900): 1–2.

Begins by asserting that neither poet nor composer could have achieved this masterpiece without having experienced the same emotions himself and continues to praise the work in a veritable explosion of adjectives; having defined his method of analysis as describing the emotions which the music produced in him, the author describes each of the songs in turn; notes one technical device which he claims Fauré first used in “Les presents” Op. 46, No. 1 but his description of it is contradictory131; prefers Fauré’s setting of the poetry to that of Reynaldo Hahn. 620.

Servières, Georges. “Lieder français: Ed. Lalo, Recueil de quinze mélodies—Gabriel Fauré: La bonne chanson….” Le guide musical 40, no. 52 (23 December 1894): 1027–28.

Refers to the innate musicality of Verlaine’s poetry; praises the cycle; discusses the thematic connections between individual songs; notes that in certain songs the voice is subordinate to the piano.

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621.

Weber, Wallace D. “A Comparative Analysis of Text and Music in Gabriel Fauré’s La bonne chanson and Le jardin clos.” D.M.A. dissertation, University of Missouri, 1988.

Written as an aid to interpretation of the music; compares the text setting in the two cycles in terms of tessitura, dynamics, use of scales and arpeggios, keys, and repeated material. See also items 137, 460, 550, 551, 587, 592, 635, 640, and 838. Pleurs d’or, Op. 72 622.

Brusse, Corre B. “The Relationship between Poetic Structure and Musical Structure in Selected Vocal Duets.” NATS Journal 43, no. 4 (March-April 1987): 20–25.

The author includes the duet by Fauré as one example to prove her thesis that “the choice of duet form [can be] evoked by some aspect of the text”; she does not succeed in demonstrating why Fauré could not have set the text for solo voice and accompaniment. See also item 527. Le parfum impérissable, Op. 76, No. 1 623.

Hahn, Reynaldo. Du chant. Paris: Gallimard, 1957. 243pp.

A singing manual which deals with both technical and interpretive matters and mentions works by Fauré in various contexts; includes a detailed discussion of Op. 76, No. 1 (57–65) which concentrates on breathing and diction. 624.

——. On Singers and Singing: Lectures and an Essay. Portland, OR: Amadeus Press, 1990. 244pp. ISBN 0-7470-1420-5

Translation of item 623 by Léopold Simoneau; introduction by Lorraine Gorrell which traces Hahn’s career; discography by William R. Moran. See also item 525.

Bibliography

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Prison, Op. 83, No. 1 625.

Cahn, Peter. “Gabriel Faurés letzte Verlaine-Vertonung (Prison) und die Tradition von plainte und lamento.” In Liedstudien: Wolfgang Osthoff zum 60. Geburtstag, edited by Martin Just and Reinhard Wiesend, 453–71. Tutzing: Schneider, 1989. ISBN 37952-0613-8

Cahn asserts that Fauré’s song is part of a continuation in French music of the early nineteenth century of an older lamento tradition; in a detailed analysis of the piece, he finds characteristic elements of the genre: descending tetrachords, ostinato rhythm, triple meter, and minor tonality. Soir, Op. 83, No. 2 See item 79. La fleur qui va sur l’eau, Op. 85, No.2 See item 73. La chanson d’Eve, Op. 95 626.

Almeida, Vieira de. “La chanson d’Eve” Gazeta musical e de todas artes 9 (July-August 1959): 333–34.

An article which praises Fauré’s ability to choose and set text but which is a literary discussion of the poems of the cycle. 627.

Beaunier, André. La chanson d’Eve. Bruges: E.Verbeke, 1911.

Publication of a talk given 27 and 29 March 1911, possibly before a concert; touches upon Adam and Eve, Van Lerberghe, and Fauré before concluding that the cycle is the composers masterpiece. 628.

Bruyr, José. “En parlant de Gabriel Fauré avec son fils.” Le guide de concert 24, no. 23 (4 March 1938): 615–17.

Philippe Fauré-Fremiet confirms that thematic material from “Mélisande’s Song” reappears in “Crépuscule” but argues that the borrowing was not deliberate—that in Fauré’s unconscious, the theme

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was of “quelque couleur nordique” and passed from its association with Maeterlinck’s text to one with that of Van Lerberghe. 629.

Camoni, Barbara. “Le melodie di G.Fauré.” Ph.D. dissertation, University of Bologna, 1980.

Not located. 630.

Carraud, Gaston. “Le mois.” S.I.M. revue musicale mensuelle,132 15 May 1910, 331.

Carraud devotes a paragraph of this column to the recent appearance of La chanson d’Eve which he deems as masterful as La bonne chanson but of an entirely different, simple character. 631.

Fauré-Fremiet, Philippe. “La chanson d’Eve de Van LerbergheFauré.” Synthèses 196–97 (September-October 1962): 261–72. Reprint. Association des amis de Gabriel Fauré: Bulletin 10 (1973): 7–14.

An introduction by Général Henri Chevalier indicates that this article was a pre-concert talk given by the author for a gala performance of the piece on 14 October 1954. Fauré-Fremiet chronicles the composition of the cycle somewhat but devotes most of the first section of the article to similarities between composer and poet; suggests that Fauré’s views on religion found resonance in Van Lerberghe’s poetry. The second section of the article presents the two themes upon which the cycle is based (the first drawn from the Death of Mélisande movement of Pelléas); discusses the differences between the endings of the poetic and musical cycles and describes the final song of the latter as “presque une mélodie noire.” 632.

Gaiffe, Félix. “Les petits concerts.” Revue française de musique 10, no. 2 (15 March 1912): 96–100.

Reviews several concerts including one in the series of the Société nationale in the Salle Pleyel which included La chanson d’Eve and Cinq melodies ‘de Venise’ sung by Jeanne Raunay and accompanied by Fauré133; the critic prefers the settings of Verlaine and finds the style of the later cycle—”la dernière manière de M. Fauré”—a distortion of what he admires in Fauré’s music.

Bibliography 633.

275

Kennedy, Margaret. “La chanson d’Eve by Gabriel Fauré.” NATS Journal 42, no. 3 (January-February 1986): 14–16.

Although brief, this article gives its intended audience of singers and accompanists a great deal of information about the cycle; it is divided into sections on the history of the piece, its musical structure, and its interpretation; the author includes specific advice on vocal tone and phrasing which she sets in the context of Fauré’s melodic and harmonic style as they are realized in this piece.134 634.

Kœchlin, Charles. “Chronique musicale—Salle Gaveau (Concert d’inauguration de la ‘Société musicale indépendante’): Œuvres de MM.Delage, Kodály, Roger-Ducasse, Debussy, Fauré, Ravel, Debussy.” La chronique des arts et de la curiosité,135 7 May 1910, 148.

A concert review in which Kœchlin praises the simplicity and serene beauty of La chanson d’Eve of which this was the first complete performance.136 635.

Lalo, Pierre. “La musique: Un guerre des deux sociétés… La chanson d’Eve de M.Gabriel Fauré…” Le temps, 31 August 1910, 3.

The modern researcher may consult this source for the brief but enthusiastic reaction to the first complete performance of La chanson d’Eve at the inaugural conceit of the Société de musique indépendante, 10 April 1910137; the author believes that difference between this cycle and La bonne chanson can be attributed to Fauré’s sensitivity to the different demands of the two texts. However, the column was written as a commentary on the schism between the old Société nationale de musique and the new S.M.I.: Lalo leaves no doubt that his loyalty rests with the older society in this struggle between the older “contrapuntal” style of the S.N. and the Schola Cantorum on the one hand and the newer “harmonic” style of “debussysme” and the S.M.I. on the other. He attaches no blame to Fauré for his presiding over the new society, feeling that his prestige is being used by its young founders who are manufacturing an enmity between Fauré and Vincent d’Indy (see items 30 and 41).

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636.

Marnold, Jean. “Revue de quinzaine…. “Le mercure musical, March-April 1910, 723–24.

As in item 635, the announcement that La chanson d’Eve will have its first performance at the first concert of the S.M.I. is contained within a brief comment about the founding of the new society; however, Marnold’s reference to d’Indy as “dictateur” of the older S.N. places him on the opposite side of the ideological debate from Lalo. 637.

Modrakowska, Maria. “La Chanson d’Eve de Gabriel Fauré.” Le monde musical 44, no. 2 (28 February 1933): 43–44.

The author, who studied the cycle with Roger-Ducasse, describes Fauré as the most French composer of all and as one of “Les Grands Isolés”; describes the cycle in terms of its principal theme and interprets the text from a personal point of view; mentions difficulties in performing such an inward-looking piece. 638.

Roy, Jean. “La chanson d’Eve.” Corps écrit 21 (April 1987): 155–57.

The author finds the music superior to the poetry; provides descriptions of a phrase or two for each of the songs and mentions the familiar thematic associations; cites Jankélévitch. 639.

Saint-Jean, J. [Joseph de Marliave]. “La musique à Paris.” La nouvelle revue, 1 August 1910, 359–79.

Discusses (377–79) the formation of the S.M.I. and the music of its first season; but the article is the obverse of item 635: Marliave is clearly on the side of the new society and is kinder toward works which Lalo slights; says that Fauré, as president of the new society, “est parmi les jeunes à sa vraie place…”; sees La chanson d’Eve as a continuation of the new style Fauré began with the First Piano Quintet Op. 89. See also items 345, 527, 551, and 592. Le jardin clos, Op. 106 See item 621.

Bibliography

277

Mirages, Op. 113 640.

Bowman, Robin. “Eight Late Songs of Fauré: An Approach to Analysis.” Musical Analysis 1, no. 1 (Winter 1972): 3–5.

A statistical examination of the intervallic structure of melodic lines of Mirages and L’horizon chimérique together with those of four songs from La bonne chanson as contrast; tabulates repeated notes and rising and falling intervals as percentages of the total number of melodic intervals of each vocal line; presents as another table the number of occurrences of specific interval classes in each melodic line. 641.

Howat, Roy. Debussy in Proportion: A Musical Analysis. Cambridge: Cambridge University Press, 1983. xi, 239pp. ISBN 0521-23282-1

At the end of the book (192–93), the author examines the metric proportions of “Reflets dans l’eau” which he determines are those of the Golden Section as expressed by the Fibonacci sequence; as this structure is not typical of Fauré, he suggests that this piece was conceived as a tribute to Debussy. 642.

Orledge, Robert. “A Voyage of Discovery into Fauré’s Song Cycle, Mirages.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

Compares Mirages to the other late cycles; examines the manuscript for the cycle and comments on what this and other primary sources reveal about Fauré’s compositional method; discusses Fauré’s treatment of text and the harmonic plan of the work.138 See also items 36, 366, and 388. L’horizon chimérique, Op. 118 643.

Bidou, Henry. “L’op. 118 et l’op. 119 de Gabriel Fauré.” L’opinion, 29 September 1922, 1117–22.

Contends that the late works of composers tend toward an economy of means and cites specific examples of tonal simplicity from the first song of Fauré’s L’horizon chimérique; contrasts Fauré’s melodic writing with that of Debussy in his late works; makes briefer mention

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of the remaining songs of the cycle. Analyzes the Thirteenth Nocturne in terms of its motives which Bidou regards as interacting, generative melodic cells. 644.

Lapommeraye, Pierre de. “Société nationale de musique.” Le ménestrel 84, no. 20 (19 May 1922): 230.

A review of the concert at which L’horizon chimérique and the Second Violoncello Sonata had their first performances; the author is enthusiastic, indeed effusive, but says little more than that both pieces are simple in style and that the second movement of the sonata reminds him of Beethoven. 645.

Navien, Charles F. “The Harmonic Language of L’horizon chimérique by Gabriel Fauré.” Ph.D. dissertation, University of Connecticut, 1982.

A detailed analytical consideration of the cycle using a method which augments traditional harmonic analysis with reductive techniques after Schenker and Narmour and with reference to Niedermeyer’s method for the harmonization of plainchant; views Fauré’s harmonic language as essentially tonal ornamented by modal successions; sees this cycle as “a prolongation of a D major triad” (143) with the tonalities of the inner two songs in neighbor-note relation to it. 646.

Panzéra, Charles. L’art vocal: Trente leçons de chant. Paris: Librairie Théatrale, 1959. 125pp.

A very specialized work on vocal technique with a chapter (109–122) on the interpretation of L’horizon chimérique, which was dedicated to Panzéra. See also items 344, 607, 610, and 640. Vocalise-étude, WwO 647.

Stickler, Larry W. “Conceit Vocalises for Solo Voice: A Selective Study.” D.Mus. dissertation, Indiana University, 1989.

A pedagogical study; includes the “Vocalise-étude” among the pieces analyzed.

Bibliography

279

Poets and discussions of text 648.

Barthes, Roland. “Le grain de la voix.”139 Musique en jeu 9 (November 1972): 57–63. Reprinted in L’obvie et l’obtus (Paris: Éditions de seuil, 1982), 236–45.

A discussion of the relationship between the application of language, as semiotic system, to music in the context of song, a genre in which language and music meet; says very little about Fauré but does assert that the his late songs (together with songs by Debussy and Duparc) best illustrate a merging of language and music into “sung writing”140; includes a number of provocative comments about composers and performers141 which are highly subjective and which obscure the essay’s initial point about the poverty of certain kinds of music criticism. 649.

Beltrando-Patier, Marie-Claire. “Étude comparée des langages mélodiques de Fauré et de Debussy.” In Colloquium “Musica communicatio” edited by Rudolf Pecman, 230–37. Vol. 14 of Colloquia on the History and Theory of Music at the International Music Festival in Brno. Brno: Mezinárodní hudební festival Brno, 1989.

By examination of the rhythmic and melodic shape of vocal lines as well as the nature of the piano accompaniment, determines that in setting a poem Fauré follows the text as it might be declaimed much more closely than does Debussy. 650.

Brody, Elaine. “Musical Settings of Symbolist Poems.” In The Symbolist Movement in the Literature of European Languages, edited by Anna Balakian, 483–91. Vol. 2 of A Comparative History of Literatures in European Languages Sponsored by the International Comparative Literature Association. Budapest: Akadémiai Kiadó, 1984. ISBN 963–05–3895–4

An examination of “the precise technique of wedding music” to symbolist poetry; discusses the difference between the Lied and the mélodie; touches on the problem of textual accentuation in the French language. Brody notes that while Fauré’s settings are like those of Debussy in some ways, there are differences in Fauré’s “continuously evolving melody,” in the interrelationship of accompaniment and vocal line, and in Fauré’s tendency to set the mood of the entire text rather than to emphasize

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individual verses or words; briefly considers “En sourdine” as set by Fauré and Debussy; mentions Ravel, Chausson, and Duparc. 651.

Brunetto, Flavia. “Fauré e Debussy di fronte a Verlaine.” In Poesia e musica nella Francia di fine ottocento, edited by Guido Salvetti, 219–36. Milan: Edizioni Unicopli, 1991. ISBN 88– 7061–541–3142

Compares the treatment by Fauré and Debussy of the same six poems by Verlaine; discusses various musical parameters including melody, accompaniment, text setting, and form; concludes that while the two composers understood the poems in essentially the same way, the style of Fauré’s settings is more reserved and more classical in form than is Debussy’s, and the piano tends to express the text more in Debussy’s songs than in Fauré’s; summarizes the differences between the composers by saying that the symbolist elements of Verlaine’s poetry attracted Debussy while the Parnassian elements in the same texts found resonance in Fauré. 652.

Camoni, Barbara. “Fauré e Verlaine.” In Poesia e musica nella Francia di fine ottocento, edited by Guido Salvetti, 54–94. Milan: Edizioni Unicopli, 1991. ISBN 88–7061–541–3

Traces the historical and artistic relationship between Fauré and Verlaine; examines rhythmic, motivic, and harmonic aspects of Fauré’s settings of Verlaine’s poems; suggests that changes in Fauré’s style were the result of “very intelligent adaptation” to the poetry which attracted him; concludes that Verlaine’s poetry—that is, the verses chosen by Fauré to avoid both surrealism and realistic description—suited the composer’s approach to text setting which was not a literal portrayal of the text but rather a capturing of the essence of a poem in the interplay of various aspects of his harmonic language. 653.

Chalupt, René. “Gabriel Fauré et les poètes.” La revue musicale 4, no. 11 (October 1922): 28–33.

Chalupt announces clearly (29) that the intentions of his article are, first, to determine both the passing and the lasting preferences Fauré had in poetry and, second, to discern whether his taste in poetry developed in parallel with his musical style. However, although Chalupt tabulates the number of texts Fauré chooses from the works of various poets and makes observations about Fauré’s ability to set the spirit of a text and

Bibliography

281

about how his choice of poems is more eclectic than Debussy’s, he does not address the second topic of his investigation. 654.

Chevalier, Henri. “Gabriel Fauré et les poètes belges.” Beauxarts, 28 October 1960.

Mentions Fauré’s music for Maeterlinck’s Pelléas; discusses, as well, how the composer came to be acquainted with the poetry of Jean Dominique (Marie Closset) set in “Le don silencieux” and that of Charles Van Lerberghe set in La chanson d’Eve and Le jardin clos. 655.

Elst, Th. van der. “Le poète de Fauré: Verlaine.” L’éducation musicale 9, no. 9 (June 1954): 12–13.

Challenges Jankélévitch’s notion that the success of Fauré’s setting of Verlaine’s poetry was a “miracle” given the differences in character between poet and musician; finds roots of Verlaine’s Fêtes galantes in Edmond and Jules de Goncourt’s L’art au dix-huitième siècle; remarks that Fauré found “le point délicat” where Verlaine passed from the “coquetteries mélancoliques de Fêtes galantes aux espoirs de la Bonne chanson.” 656.

Fauré, Michel. “L’époque 1900 et la résurgence du mythe de Cythère.” Mouvement social 109 (October-December 1979): 15–34.

The author seeks to understand art’s fascination with “les fêtes galantes” (particularly as expressed in Verlaine’s poetry and Fauré’s and Debussy’s settings of it) in the republican and industrial society of late nineteenth-century France; he finds some explanation for the phenomenon in the social and political position of the aristocracy and upper bourgeoisie after the fall of the Second Empire. Convinced of “the social function of the artist,” he describes differences in the music of Fauré and Debussy which he believes reflect the differences in their ages, political convictions, and social positions. 657.

Fortassier, Pierre. “Rythme verbal et rythme musical: A propos de la prosodie de Gabriel Fauré.” In Mélanges d’histoire et d’esthétique musicales offerts à Paul-Marie Masson…, vol. 1, 29–37. Paris: Richard Masse, 1955.

Shows how the rhythm of Fauré’s musical settings often actually improves inferior poetry by altering the normal scan of the verse; in the

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principal example, “Les berceaux” Op. 23, No. 1, demonstrates how the rhythm of Fauré’s music makes extraordinary the normal iambic rhythm of the text the better to portray the central metaphor of the poem. Worthwhile. 658.

——. “Verlaine, la musique et les musiciens.” Cahiers de l’association internationale des études français 12 (1960): 143–59.

Examines the idea that Verlaine is the most musical of poets; establishes that the poet had no musical training and, indeed, little contact with music in his childhood and that his technical understanding of music was not great in spite of numerous references to music and musical instruments in his poems (references which Fortassier takes a bit too literally); insists that Verlaine more than any other poet since the sixteenth century made French a musical language, attracting such musicians as Fauré, Debussy, and Ravel; makes the further vague suggestion that Fauré’s attraction to Verlaine’s poetry had to do with the composer’s tendency to make extensive use of harmonies based on the tonally weak and therefore ambiguous degrees (II, III, and VI). 659.

——. “Le rythme dans les melodies de Gabriel Fauré.” Revue de musicologie 62, no. 1 (1976): 257–74.

An expansion of item 657; the author’s methodology is more rigorously defined, and the specific ways in which Fauré modifies textual rhythm in music are codified. Fortassier suggests that Fauré’s success in text setting may be the result not simply of technique but also of Fauré’s contemplative personality which gave him instinctive preference for certain “falling rhythms” (trochaic feet). Summary in English. 660.

Gouin, Jacques. “Fauré, mélodiste de Verlaine et de Samain (1889–1902).” Sonances 6, no. 4 (July 1987): 29–34.

Defines symbolisme and sets the movement in the context of French literature; chronicles the association between Fauré and the two poets as they considered the (unrealized) project of a cantata on the subject of Buddha (see item 1101) proposed by the Princesse de Polignac; includes a time line which makes precise the intersection of the careers of the three men.

Bibliography 661.

283

Gregg, Thomas A. “Song Composers and Their Poetry Choices: An Analysis of the Literary Background and Textual Selections of Twelve Composers.” D.M.A. dissertation, Ohio State University, 1989.

A comparison of the choice of texts by composers of the Lied, the mélodie, and the American art song which considers their times, their educations, their opportunity to be acquainted with the poets, and so forth.143 662.

Hirsbrunner, Theo. “Musik und Sprache bei Fauré und Claude Debussy.” Melos-Neue Zeitschrift für Musik 1, no. 5 (September-October 1975): 365–71.

The author begins by wondering why, given the progressiveness of Fauré’s music, he has not sparked more musicological interest in Germany (as opposed to Debussy); indicates early in his discussion that the musical styles of the two composers—particularly in their harmonic language—are different and must be compared cautiously; examines their settings of “C’est l’extase” and concludes that Fauré takes the text as starting point for absolute music and, rather than deal impressionistically with each element of the text as Debussy does, delicately throws a verse of poetry into relief through musical rhyme or a striking harmonic event; this point of view is echoed by Porter (items 680 and 681). 663.

——. “Zum Liedschaffen von Gabriel Fauré und Claude Debussy.” In Wort—Ton—Verhältnis, edited by Elisabeth Haselauer, 101–8. Vienna: Herman Bohlaus Nachf., 1981. ISBN 3-205-07166-2

Begins with considering the different place the aristocratic and bourgeois salons occupied in the careers of Fauré and Debussy (see item 418); discusses the different approaches the two composers took to the selection and the setting of poetry (again using Fauré’s “C’est extase” as an example—see item 662), agreeing with other writers that Debussy is concerned with details of the text but that Fauré is interested in the text only as a pretext for making music (“…nur ein Vorwand, um Musik zu machen…”). 664.

Kimpara, Reiko. “Fauré et Verlaine.” Cahier des études françaises (Tokyo), 3 (November 1974): 77–96.

See item 675.

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665.

——. “Gabriel Fauré et ses rencontres avec les poétes: Hugo, Gautier et Leconte de Lisle.” Gengobunka ronshu, Studies in Languages and Cultures (Tokyo, University of Tsukuba IbarakiKen) 13 (October 1982): 47–82.

See item 675. 666.

——. “Gabriel Fauré et ses poètes: Baudelaire, Sully Prudhomme et Romain Bussine.” Gengobunka ronshu, Studies in Languages and Cultures 14 (March 1983): 63–86.

See item 675. 667.

——. “Gabriel Fauré et Van Lerberghe: Le jardin clos.” Gengobunka ronshu, Studies in Languages and Cultures 15 (September 1983): 235–52.

See item 675. 668.

——. “Gabriel Fauré et ses poètes: La poésie d’Armand Silvestre.” Gengobunka ronshu, Studies in Languages and Cultures 16 (September 1984): 99–126.

See item 675. 669.

——. “Gabriel Fauré et La chanson d’Eve de Charles Van Lerberghe.” Faculty Bulletin (Tokyo, Toho Gakuen School of Music) 10 (November 1984): 59–83.

See item 675. 670.

——. “Gabriel Fauré et ses poètes symbolistes, I.” Gengobunka ronshu, Studies in Languages and Cultures 17 (March 1985): 119–39.

See item 675. 671.

——. “Gabriel Fauré et ses poètes symbolistes, II.” Gengobunka ronshu, Studies in Languages and Cultures 18 (September 1985): 97–122.

See item 675.

Bibliography 672.

285

——“Sur les mélodies de Gabriel Fauré: Autour de ses Mirages.” Faculty Bulletin (Tokyo, Toho Gakuen School of Music) 11 (November 1985): 21–47.

See item 675. 673.

——. “Gabriel Fauré et les poètes inconnus (Louis Pomey, Marc Monier, Charles Grandmougin, Victor Wilder et Stéphan Bordèse)” Gengobunka ronshu, Studies in Languages and Cultures 19 (March 1986): 129–46.

See item 675. 674.

——. “L’horizon chimérique de Jean de la Ville de Mirmont et la mélodie de Gabriel Fauré.” Faculty Bulletin (Tokyo, Toho Gakuen School of Music) 14 (December 1988): 45–66.

See item 675. 675.

——. Gabriel Fauré et ses poètes. Tokyo: Shogen, 1993. In Japanese. ISBN 4-938661-66-7

A summary collection of the author’s work on the poets whose verse Fauré set; the chapter titles are virtually the same as the articles above (See items 664–674). 676.

Leclère, Tristan. “Les musiciens de Verlaine.” Revue politique et littéraire: Revue bleue Series 4, vol. 20, no. 20144 (14 November 1903): 633–35.

Discusses various composers who set poems of Verlaine and decides that Fauré, who as a composer of chamber music understood the intimate music these texts required, was the ideal composer for Verlaine’s verse—better than Debussy and Gustave Charpentier; does, however, prefer Chausson’s setting of “La lune blanche”; also mentions Hahn, Bordes, Fabre, and a number of other minor composers. 677.

LeVan, Timothy. Masters of the French Art Song: Translations of the Complete Songs ofChausson, Debussy, Duparc, Fauré & Ravel. Metuchen, NJ: Scarecrow Press, 1991. x1, 445pp. ISBN 0-8108-2522-8

Song texts arranged alphabetically by composer and, subsequently, by title; each line of the original text is given two translations, one which is

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word for word (useful, perhaps, to those who have absolutely no knowledge of French) and a second which is in “more standard” English. Indices of songs by title and by first line. 678.

Masson, Marie-Noëlle, and François Mouret. “Verlaine/Fauré, ‘Clair de lune’: Les interactions du texte et de la musique dans la segmentations de l’œuvre vocale ou la problématique du sens.” Musurgia 1, no. 1 (1994): 24–38.

An analysis of Op. 46, No. 2 which examines the interactions of the structures revealed by the segmentation of text and melody; based on the linguistic theories of Samuel Levin, Nicolas Ruwet, and Roman Jakobson. 679.

Nuffel, Robert O.J.Van. “Charles Van Lerberghe et la musique.” In Regards sur les lettres françaises de Belgique: Études dédiées à la mémoire de Gustave Vanwelkenhuyzen, 125–43. Brussels: André de Rache, 1976.

An article describing the poet’s meager acquaintance with music but great appreciation of it, mentioning particularly Wagner and Beethoven. Van Lerberghe apparently did not approve of the setting of poetry in music; however, he could not have known Fauré’s two cycles on his poetry and, given what the author terms their “profondes affinités” [an idea from Fauré-Fremiet, item 631], might have appreciated Fauré’s treatment of his verse. 680.

Porter, Laurence M. “Meaning in Music: Debussy and Fauré as Interpreters of Verlaine.” Topic 35 (1981): 26–37.

Compares the settings by Debussy and Fauré of three of Verlaine’s texts: “C’est l’extase,” “Green,” and “Il pleure dans mons cœur” (“Spleen”); the analytical method involves examination of “the expressive potentialities of…rhythm, melody, harmony,…loudness, and timbre” and in its treatment of pitch derives from Ferguson 145; the author concludes that Fauré’s songs are closer to absolute music while Debussy’s treat the details of text impressionistically; the article seems to suggest that Debussy is thus more sensitive to text and more competent in its expression in music than is Fauré.

Bibliography 681.

287

——. “Text versus Music in the French Art Song: Debussy, Fauré, and Verlaine’s Mandoline.” Nineteenth-Century French Studies 21, nos. 1–2 (Fall 1983–1984): 138–44.

As item 680 with another poem by Verlaine. 682.

Riessauw, Anne Marie. “Verbe et mélodie: Étude sur les rapports entre le matériel phonétique et mélodique dans la composition musicale sur un poème de Verlaine.” In Jaarboek, Institut voor Psychoakoestiek en Elektronische Musiek, 125–62. Publikaties van het Seminarie voor Muziekgeschiedenis, no. 2. Ghent: 1967.

A study of the settings of Verlaine’s “Il pleure dans mon cœur” (Fauré’s “Spleen” Op. 51, No. 3) by twelve composers in order to determine to what degree each composer was governed by the phonetics of the text as evidenced by the correlation of type and extent of melodic motion with specific phonetic successions, interpreted statistically. 683.

——. “Musico-literaire verhoudingen in de Verlaine-liederen van Fauré en Debussy en commentaar bij een catalogus van vocale werken van europese componisten op gedichten van Verlaine.” Belgisch tijdschrift voor muziekwetenschap/Revue belge de musicologie 32–33 (1978–1979): 188–197.146

A discussion of the similarities and differences between the settings of Verlaine’s poetry by Fauré and Debussy according to three criteria: form, melodic structure, and treatment of text. 684.

Wenk, Arthur. Claude Debussy and the Poets. Berkeley: University of California Press, 1976. x, 345pp. ISBN 0-520-02827-9

Wenk discusses Debussy’s settings of works by different poets—of interest to Fauré scholars are detailed comparisons of settings by Debussy and Fauré (and other composers) of texts by Verlaine in which are discussed such parameters as rhythm, motive, melodic line, harmony, form, and overall mood; does not appear to find much influence of Fauré’s style on that of Debussy. See also items 137, 241, 589, 906, and 1101.

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Performers 685.

Nectoux, Jean-Michel. “Claire Croiza: Les grands moments d’une interprète.” Revue de la Bibliothèque Nationale no. 12 (Summer, 1984): 33–45.

Traces the career of the artist who gave the premiere performance of Le jardin clos, and to whom its fifth song, “Dans la nymphée,” is dedicated. Croiza also counted the title role of Pénélope in her repertoire. She was, as well, an expert in declamation, and in this regard, Nectoux discusses her collaborations with the poet, Paul Valéry. 686.

——. “Fauré: Voice, Style, and Vocality.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

A survey of the singers, amateur and professional, who performed Fauré’s songs in the late nineteenth and early twentieth centuries; draws conclusions about performance practice; discusses Fauré’s own ideas about the interpretation of his works for voice. Sacred Works 687.

Boulanger, Nadia. “La musique religieuse.” La revue musicale 4, no. 11 (October 1922): 104–11.

The article begins with general comments about church music as a genre; describes Fauré’s style using familiar adjectives—serene, noble, classic; considers his sacred style to be his usual vocal style modified (that is, simplified). Although the author uses a greater technical vocabulary than most other critics of Fauré’s music, much of the commentary is very metaphorical. Individual paragraphs about several of the smaller works as well as a larger consideration of the Requiem. 688.

Cœuroy, André. “La musique religieuse.” Chapter 7 in Cinquante ans de musique française de 1874 à 1925, edited by Ladislas Rohozinski, 2:139–74. Paris: Librairie de France, 1925.

An account of the composers, schools, and events in sacred music in France from Gounod through the early twentieth-century after the Motu proprio; begins by quoting Fauré on the difficulty of judging what is proper in church music; devotes one laudatory paragraph to Fauré’s

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sacred compositions, characterizing the Messe basse as “Franciscan” and the Requiem as “divine.” 689.

——. “Present Tendencies of Sacred Music in France.” Musical Quarterly 13, no. 4 (October 1927): 582–604.

A much abridged translation of item 688 by Theodore Baker. 690.

Guillot, Pierre. “Gabriel Faurés Kirchenmusik: Vom Requiem »ohne Anlaß« zur 13. Nocturne.” In Gabriel Fauré: Werk und Reception, edited by Peter Jost, 142–51. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

An overview of Fauré’s church music which centers upon the Requiem; examines the question of how a composer of Fauré’s religious beliefs would write such a work which Guillot describes as initiating a new aesthetic in French sacred music; ends with the curious suggestion that the Thirteenth Nocturne, is in some way, Fauré’s personal requiem. 691.

Henderson, Archibald M. “Church and Organ Music: Memories of Some Distinguished French Organists—Fauré.” Musical Times 78, no. 1135 (September 1937): 817–19. Reprinted, with minor emendations, as “Personal Memories of Fauré.” Musical Opinion 80, no. 949 (October 1956): 39–40.

A biographical sketch and a brief reminiscence by the former organist of the University of Glasgow of meeting Fauré socially and hearing him improvise; the author laments the fact that Fauré composed nothing for the organ. 692.

Huré, Jean. “La musique religieuse et la musique chorale.” In Rapport sur la musique française, edited by Paul-Marie Masson. Rome: Armani & Stein, 1913.

Includes only a brief mention of Fauré. 693.

Vuaillat, Abbé Jean. “Gabriel Fauré, musicien d’église.” Académie musicologique de Forez 2 (March 1985): 2–10.

A biographical sketch of Fauré which deals principally with his religious music and his relationship to the church. The author tries desperately to make this aspect of Fauré’s life central to his career; invokes the cliché of the influence of chant (modality) on Fauré’s

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harmonic language (a subject treated more competently elsewhere; see, for example, item 555); disagrees with Vuillermoz’s description of Fauré as an agnostic; mentions nearly every sacred piece but mistakenly attributes the origins of the Messe basse to Fauré’s time in Rennes. 694.

Vuillemin, Louis. “La semaine musicale: … La premier concert de la S.M.I. …” Comœdia, 5 May 1913, 4.

Three sentences within a larger concert review; Vuillemin praises the three motets by Fauré for women’s voices but deplores the performance by six pitifully ill-prepared voices (“six gosiers dolents peu préparés”). Requiem, Op. 48 695.

Amerongen, Alex van. “Requiem van Fauré voortaan in eerste versie?” [The Requiem of Fauré henceforth in the first version?] Mens en melodie 33, no. 5 (May 1978): 157–59.

A history (after Nectoux to whom credit is given) of the various versions of the Requiem (1887/88, 1892, 1900) as introduction to a brief comment about an experimental performance of the piece at the Paris Conservatoire in which elements of the early and the late orchestrations were heard. 696.

Bellaigue, Camille. “Le Requiem de M.Gabriel Fauré.” In Études musicales. 3rd series, 217–20. Paris: Delagrave, [1907].

Reviews the Requiem in favorable terms mentioning its delicacy and its restraint; harmonies and modulations are original without being bizarre. Becomes overly sentimental in describing the music as “feminine” and, therefore, appropriate for the funeral of a young girl; advises the reader that a more violent depiction of grief is to be found in certain of Fauré’s songs. 697.

Benoît, Camille. “La Messe de Requiem de Gabriel Fauré.” Le guide musical 34, no. 32–33 (9 and 16 August 1888): 195–97.147

An extended appreciation of the Requiem in somewhat extravagant langauge. The author finds in the music a purity and a simplicity that are Attic (terms later associated with reviews of Pénélope and Prométhée) and hints that it will appeal to only a discerning few; compares Fauré’s

Bibliography

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writing to Anatole France’s poetry and also mentions Watteau; asserts that the music reflects Fauré’s personal view of death and not the terrifying imagery of the “Dies irae” text. Suggests that the piece is suitable for the funeral of a young duchess (compare item 696). One footnote indicates that the author could have discussed the music in more technical terms had he wished to do so. 698.

Boyd, Malcolm. “Fauré’s Requiem: a Reappraisal.” Musical Times 104, no. 1444 (June 1963): 408–9.

A brief consideration of some structural details of the piece. The author cites examples of the influence of plainsong within a discussion of thematic “development”; finds Fauré’s harmonic innovations in “unorthodox juxtapositions of familiar chords” and in a “synthesis of modal influence and essential chromaticism”; criticizes the orchestration (version for full orchestra). The author attributes the omission of the “Dies irae” not to Fauré’s theology but to his understanding of his own limitations (compare item 697). 699.

Bruneau, Alfred. La musique française: Rapport sur la musique en France du XIIe au XXe siècle—La musique à Paris en 1900 au théâtre, au concert, à l’Exposition. Paris: BibliothèqueCharpentier, 1901. 255pp.

Fauré is mentioned here and there in this report presented to “Monsieur le Ministre de l’Instruction Publique et des Beaux-Arts” in the name of the commission of the “Grandes Auditions Musicales de l’Exposition Universelle de 1900”; however, it is the Requiem which receives the most attention and is reviewed (239–41) after a performance at the Trocadéro during the exposition. Bruneau concentrates on Fauré’s attitude toward death as expressed in the piece; calls the work original, beautiful, and musical—“parmi les meilleures choses que M.Gabriel Fauré ait écrites.” 700.

Bruyr, José. “Les grands requiems et leur message.” Musica (Chaix) 116 (November 1963): 4–10.

A non-integrated discussion of Requiem masses by Mozart, Berlioz, Verdi, and Fauré. The author rejects the “funeral of a young girl” metaphor (see items 696 and 697) but substitutes his own religious one of otherworldly peace (the In Paradisum as lullaby); notes that Fauré spent his early childhood in the area of the Cathar heresy and implies a

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connection; incorrectly dates the Messe basse. No technical discussion; superficial. 701.

Cohrs, Gunnar. “Gabriel Fauré und sein Requiem.” In Lili Boulanger-Tage 1993, Bremen: Zum 100. Geburtstag der Komponistin, edited by Kathrin Mosler, 115–18. Bremen: Callas/ Zeichen und Spuren, 1993. ISBN 3-924588-24-4

An overview of the Requiem which discusses its reception and later influence, gives the history of its various versions, and describes the score. A short biographical sketch of Fauré precedes the article (114), while an organizational chart of the text of the Requiem and its treatment (119–21) follows it. 702.

Dumesnil, René. La musique romantique française. Paris: Aubier, 1944. 223pp.

In a discussion of the Berlioz Grand Messe des Morts, briefly compares its effect to that of Fauré’s Requiem (175). 703.

Forst, Inge. “Maurice Duruflé und sein Requiem.” Kirchenmusikalisches Jahrbuch 75 (1991): 107–17.

A consideration of the Duruflé work which discusses correspondences between it and Fauré’s Requiem in text selection, texture, tempo, instrumentation, and tonality. 704.

Haraszti, Émile. “Liszt.” In Histoire de la musique. Vol. 2, Du XVIIIe siècle à nos jours, edited by Roland-Manuel, 533–70. Encyclopédie de la Pléiade, no. 16. Paris: Gallimard, 1963.

Makes fleeting comparison between the Requiem of Liszt and that of Fauré (558). 705.

Imbert, Hugues. “Le Requiem de Gabriel Fauré à Lille.” Lecture presented at a concert 6 April 1900.148

The author finds that in its “esprit antique [et] romantique,” the Requiem evokes Brahms’s Ein deutsches Requiem; comments that while the orchestrations of the two pieces are different, they are both “personal”; bulk of the lecture given to a description of the piece; deplores the fact that Paris ignores this music.

Bibliography 706.

293

Joly, Charles. “Chronique du mois.” Musica 2, no. 8 (May 1903): 114.

A one-line announcement that on Good Friday, among four concerts spirituelles in Paris, Marty performed the “Requiem un peu païen de Gabriel Fauré” at the Conservatoire. 707.

Lalo, Pierre. “La musique.” Le temps, 27 January 1906, 3.

Within his usual column, the author reviews a performance of the Requiem; employs the vocabulary usual to facile descriptions of Fauré’s music (grace, charm, finesse, subtlety) and refers to the pagan nature of the piece which is, nonetheless, suitable for the funeral of a young girl (see items 696, 697, and 700). He also criticizes the soprano soloist, but most of the remainder deplores the lack in Paris of a decent concert hall with organ. 708.

Laloy, Louis. “Concerts du Conservatoire.” Revue d’histoire et de critique musicales149 1 (April 1901): 162–63.

In this concert review, Laloy spends more time describing the Requiem than other works on the program because it is, at least in the version for full orchestra, a relatively new composition; notes that the piece is typical Fauré and that it is a presentation of the tenderness and compassion of the Gospels rather than an evocation of a terrible last judgment; insists that this excellent piece should appeal to musicians because it is charming and to the faithful because it contains nothing vulgar or unwholesome. 709.

Locard, Paul. “Les grands concerts.” Le courrier musical 13, no. 9 (1 May 1910): 360–61.

Brief article on the Conservatoire concerts of the season. The author’s describes the Requiem as deeply religious and humanist at the same time; finds it extraordinary that Fauré’s harmonic writing can sound so innovative and still be describable in conventional terms. 710.

Lonchampt, Jacques. “Le Requiem de Fauré.” Journal musical français 131 (10 October 1964): 7.

Part of a special issue of the journal devoted to Fauré; quotes Fauré on the idea that death is a happy liberation; quotes also Philippe Fauré-

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Fremiet who cited the Cathar saying, “La mort est le baiser de Dieu”; suggests that certain other pieces (Eleventh Nocturne, Second Violoncello Sonata) also deal with the subject of death. See also items 153, 257, 266, and Appendix C. 711.

Long, Marguerite. “Sur le Requiem de Gabriel Fauré.” Le courrier musical 32, no. 7 (1 April 1930): 219.

Talk given at a concert in memory of Mme Étienne Gaveau who had requested the Requiem for the memorial. The author uses flowery metaphor and sentimental simile to describe each section of the piece; her style differs from that of her contemporaries only in its excesses. Notes that the Requiem, in its concentration on “hope and resignation” rather than on the terrors of the afterlife, is often unjustly criticized as not being “Catholic.” 712.

Plum, P.J.-M. “En entendant le Requiem de Gabriel Fauré.” Musica sacra (Bruges) 43, no. 1 (March 1936): 42–44.

The author, a priest, finds the Requiem too secular for liturgical use and indicates his own preference for plainchant and Renaissance polyphony; deplores Fauré’s omission of certain parts of the mass and his editing of the texts of other sections; suggests that the composer lacked the faith and piety to do better. 713.

Primmer, Brian. “Fauré’s Requiem” Music Teacher 57 (January 1978): 15–18.

Apparently intended as a guide for student analysis of the work which the author considers a masterpiece; he uses a few familiar clichés about French music in general (color chords) and about Fauré’s music in particular (modality) but, overall, presents well his argument that French music with its connection to “verbal terms [and] visual signs” needs an analysis that is different in approach from the architectonic one most often applied to Germanic music. By comparison to a number of earlier works, he also demonstrates that the Requiem reflects a French musical tradition in its orchestration and its “emotional impact.” 714.

Riley, Maurice. “Louis Bailly (1882–1974).” Journal of the Violin Society of America 3, no. 3 (1977): 33–49.

A biographical article about the violist, Louis Bailly, who conducted the American premiere of the Requiem on 19 April 1931.

Bibliography 715.

295

Robertson, Alec. “The Requiem Mass from the Eighteenth to the Twentieth Century: Fauré, Duruflé, and Pizzetti.” In Requiem: Music of Mourning and Consolation, 117–29. London: Cassell, 1967.

This book seems directed to the educated amateur; the passage on the Fauré Requiem is mostly a description of individual movements (in the full orchestra version) together with the author’s own impressions of the piece and its composer—which are not very original except perhaps for the specific examples he gives of Fauré’s modal writing in a tonal context and for his notion that Fauré’s Catholicism was “infused with Hellenism” (121). 716.

Roland-Manuel [Roland Manuel Alexis Lévy]. “Le Requiem de Gabriel Fauré.” La vie catholique, 22 November 1924, 7.

Dismisses criticisms that the Requiem is irreligious, even pagan, because of its “sensuality”; asserts, like so many defenders of the piece, that Fauré chose to express in the music the hope of the resurrection rather than the terror of the dying or the grief of the survivor; cites Fauré’s own comments on the issue (item 42). 717.

Rutter, John. “In Search of the Real Fauré Requiem.” American Organist 18, no. 11 (November 1984): 58–61.

The author traces the development of the orchestration of the Requiem (see also items 96/101) and recounts his preparation of a new edition of the piece 150 with examples which compare the manuscripts of the original version with the published score of the version for full orchestra; discusses the music’s “backward references” to sacred music of the baroque and problems of tempo and text. Useful. 718.

Saint-Saëns, Camille. “La prononciation du latin dans l’église en France.” In École buissonnière, 177–86. Paris: Pierre Lafitte, 1913.151

In a discussion of the Motu proprio, refers to the “Pie Jesu” as among the “perles de l’art religieux.” 719.

Scott, Earl Keithley, Jr. “The Requiem by Gabriel Fauré: A Conductor’s Analysis for Performance.” D.Mus. dissertation, Indiana University, 1980.

Not seen.

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720.

Ulrich, Homer. A Survey of Choral Music. New York: Harcourt Brace Jovanovich, 1973. ix, 245pp. ISBN 0-15-584863-1

Characterizes the style of the Requiem as one of restraint; describes the piece’s melodies as “harmonically derived” and Fauré’s harmonic practice in this piece as based on modulation by thirds and root movement by whole step; suggests that the work cannot really be understood without being “heard repeatedly.” 721.

Verhelst, F. “La messe en ré de Beethoven—Le Requiem de G. Fauré—Sanctus Petrus de R.P.Hartmann.” Durendal: Revue catholique d’art et de littérature 8 (1901): 115–18.

A movement by movement consideration of the piece which the author finds to be, in general, well ordered and well written and born of a religious sentiment but which is, for various reasons (omission of part of the text, movements which are too long), not so suitable for the liturgy as for the concert hall. The author, who is quite a reactionary, criticizes technical aspects of Fauré’s writing; he likes Hartmann’s piece less well and even has advice to offer Beethoven. 722.

Vivet, Armand. “La musique sacrée en France depuis la Revolution: Rétablissement, épanouissement, avenir.” In Congrés international de musique sacrée, chant et orgue, 147–53. Paris: Desclée et Brouwer, 1937.

Sketches the history of sacred music in France since the Revolution; recounts the story of how, after the first performance of the Requiem for a funeral at the Madeleine, Fauré was rebuked by the curé of that church: “Nous n’avons pas besoin de toutes ces nouveautés; le répertoire de la Madeleine est bien assez riche, contentez-vous-en.” See also items 137, 460, 468, 1039, and 1055. Secular Choral Works 723.

lost, Peter. “Faurés ‘Les djinns’ und die Chormusik seiner Zeit.” In Gabriel Fauré: Werk und Rezeption, edited by Peter Jost, 102–13. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

Jost sets this little-known work of Fauré in the contexts of Fauré’s other works for chorus and of the history of choral music of the time; calling

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the piece “an early work of a developing master” (“Frühwerk eines sich entwickelnden Meisters”), observes that it is not typical of Fauré’s style, resembling little the few other works by Fauré in this genre. Piano Works 724.

Aguettant, Louis. La musique de piano des origines à Ravel. Paris: Éditions Albin Michel, 1954. 447pp.

A history of the French and German keyboard literature from the eighteenth century through Debussy and Ravel; the chapter on Fauré (387–410) includes brief sections on four of his pupils: Schmitt, Kœchlin, François-Berthet, and Roger-Ducasse. The author views Fauré as a composer not of any school (that is, uninfluenced by Wagner or Franck) but in the classical tradition of Mozart and of the purely French heritage of Rameau; sees the influence, as well, of Gounod, SaintSaëns, and Chopin. The discussion of his style is followed by brief mention of his output in all genres continuing with a very descriptive account of most of the works for piano. 725.

Bauman, Jolanta. “Wplyw dziela Chopina na twórczosc kompozytorów francuskich przelomu wieków [Chopin’s Influence on the Work of Turn-of-the-Century French Composers].” Zeszyty naukowe: Akademia Muzyczna im. St. Moniuszki w Gdansku 29–30 (1991): 17–28.

The author asserts the influence of Chopin’s piano music on Fauré, Debussy, and Poulenc.152 726.

Beechey, Gwilym. “Gabriel Fauré—His Piano Music and Songs.” Musical Opinion 1165 (November 1974): 61–66.

A superficial catalog of works drawn from both genres; the discussion of the music is flawed by the brief treatment offered the examples and sweeping generalizations about both the music and the composer which are based on little or no evidence. 727.

Boschot, Alfred. “Compositions pour piano.” In Chez les musiciens (du XVIIe siècle à nos jours): Deuxième série, 148–52. Paris: Plon, 1924.153

A list of the piano works which includes very brief descriptions of two or three which the author deems important; Boschot believes that none of the pieces requires more than an average piano technique.

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728.

Cortot, Alfred. “La musique de piano.” La revue musicale 4, no. 11 (October 1922): 80–103.

Cortot begins with a characterization of Fauré as a composer who holds to tradition but finds great independence within it and, thus, avoids both facile novelties which would date his compositions and dry academicism; finds Fauré’s originality in writing for the piano most evident in his contemplative pieces. The largest part of the article is devoted to brief, extravagantly flamboyant descriptions of Fauré’s pieces for piano taken in chronological order. 729.

——. La musique française de piano. Paris: Éditions Rieder, 1930. 259pp.

Essays on the piano music of Debussy, Franck, Chabrier, Dukas, and Fauré; the chapter on Fauré (137–173) reproduces the author’s article of 1922 published in the La revue musicale (see item 728). Cortot published two more collections of essays in 1932; all were reprinted by the Presses universitaires de France in 1944, 1948, and 1981. 730.

——. French Piano Music. Translated by Hilda Andrews. London: Oxford University Press, H.Milford, 1932. Reprint. New York: Da Capo Press, 1977. viii, 208pp. ISBN 0-30670896-5

An English translation of item 729; the chapter on Fauré (109–139) captures Cortot’s style. 731.

Crouch, Richard H. “The Nocturnes and Barcarolles for Solo Piano of Gabriel Fauré.” Ph.D. dissertation, Catholic University of America, 1980. 220pp.

An examination of stylistic characteristics of the three periods of Fauré’s output as reflected in the nocturnes and barcarolles; investigates various parameters of the music including harmonic movement (especially by third), modal relationships, motivic transformation, and form.154 732.

Dale, Kathleen. Nineteenth-Century Piano Music: A Handbook for Pianists. London: Oxford Univeristy Press, 1954. Reprint. New York: Da Capo Press, 1972. viii, 320pp. ISBN 0-30671414-0

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The book is included here only to note that while it discusses works by Debussy and Ravel, it makes no mention of Fauré. 733.

De Martino, Pier Paolo. “L’Entêtement à écrire pour le piano: per une rilettura dei morceaux de salon del primo Fauré.” Rivista italiana di musicologia 29, no. 2 (1994): 459–89.

A reexamination of those of Fauré’s piano works too easily termed “salon pieces”; discusses the salon of Fauré’s time and earlier and compares his music with that written for similar settings (Chopin, Saint-Saëns); suggests that Fauré maintained a necessary compromise between writing music which would please and following the path of his own stylistic development and that, as his career progressed, he was able to move more toward the latter position; notes that in any case the salons provided Fauré with an audience for his pieces and, from the late 1880s, cultivated a taste for modernity (“…coltivava…il gusto della modernità”). 734.

Demuth, Norman. French Piano Music: A Survey with Notes on its Performance. London: Museum Press, 1959. 179pp.

Deals with Fauré in the first few pages of a chapter entitled, “The Fauré Tradition”; discusses certain technical aspects of Fauré’s piano writing such as left-hand figuration and, somewhat vaguely, abstract concepts such as the nature of “strength” in the music, using the Theme and Variations Op. 73 as example; places Fauré in the Chopin tradition; finds his harmonic usage “conventional” when compared to Debussy’s; asserts that “no other composer has so consistently written such beautiful music….” 735.

Eigeldinger, Jean-Jacques. Chopin vu par ses élèves. 3e édition revue et augmentée. Neuchatel: A la Baconnière, 1988. 451pp.

The only comment about Fauré (34) is that he is one of a number of composers whose piano technique was naturally suited to his own music for the instrument—as was the case with Chopin. 736.

——. Chopin: Pianist and Teacher as Seen by His Pupils. 3d English ed. Trans. by Naomi Sholet with Krysia Osostowicz and Roy Howat; ed. by Roy Howat. Cambridge: Cambridge University Press, 1986. xvi, 324pp. ISBN 0-521-24159-6

A translation of an earlier edition of item 735.

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737.

Gibb, James. “The Growth of National Schools.” In Keyboard Music, edited by Denis Matthews, 259–315.

The brief treatment of Fauré’s piano music (265–68) comprises onesentence descriptions of the pieces mentioned which often compare them to pieces by Chopin, Schumann, and Mendelssohn whom the author considers as Fauré’s stylistic ancestors; later speaks of Fauré’s influence on Frank Martin (289). 738.

Gil-Marchex, Henri. “Le langage pianistique des compositeurs français.” In Aspects inédits de l’art instrumental en France des origines à nos jours, edited by Norbert Dufourcq. La revue musicale special number 226 (1955): 163–87.

An essay which traces the development of the piano repertoire in France from the eighteenth through the early twentieth centuries; the author speaks of Fauré’s harmonic innovations (178–79) and his subtlety but characterizes his works as a continuation of the romantic period; agrees with Cortot (see item 728) that the composer finds his independence within the confines of tradition. 739.

Golovatchoff, Dika. “Suites by Debussy, Fauré and Ravel for Piano Duet.” D.M.A. dissertation, Indiana University, 1974.

Not seen. 740.

Hahn, Reynaldo. “Musique—Gabriel Fauré: Préambule.” Journal de l’Université des Annales 8, tome 2, no. 15 (15 July 1914): 115–18.

A lecture presented 29 April 1914 as introduction to a series of concerts of Fauré’s music; since the programs are to present the complete works for piano (as well as other pieces), Hahn limits his remarks (in very flowery languages) to these; suggests that the usual division of Fauré’s compositions into three periods is less easily seen in the piano works where the defining characteristics are less pronounced and refuse to be confined to one period or another; describes Fauré as the continuation and often the equal of Chopin. 741.

Hill, Edward Burlingame. “Gabriel Fauré’s Piano Music.” Musician 16, no. 8 (August 1911): 511 & 561.

The article includes a short biography and a partial list of compositions; praises certain aspects of Fauré’s writing for piano (particularly “the

Bibliography

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individual characteristics of his harmonic treatment”), but generally prefers the songs to the piano pieces and damns the latter with faint praise—going so far as to describe them as salon music. 742.

Jankélévitch, Vladimir. Le nocturne: Fauré, Chopin et la nuit— Satie et le matin. Paris: Albin Michel, 1957. 220pp.

The author’s philosophical approach is expressed in a grand poetical conceit in which night is a metaphor for romanticism; music is thus characterized as nocturnal or diurnal. Essential to this stance is the idea that even non-texted music is referential, even representational. The author clearly views Fauré as the descendant of Chopin. (See items 348, 425, 429, 430, and 1040.) 743.

Jones, Jonathan Barrie. “The Piano and Chamber Works of Gabriel Fauré.” Ph.D. dissertation, Cambridge University, 1973.

An analytical and critical overview of Fauré’s piano and chamber music; contends that Fauré freed himself from the influence of older music earlier in his chamber works than in his works for piano; discusses Fauré’s harmonic and melodic usages as well as his “use of thematic metamorphosis” (317); cites the influence of Saint-Saëns in the matter of form; attributes emotional characteristics to certain tonalities as used by Fauré (after item 429); does not subscribe to the notion (attributed here to Kœchlin) that Fauré was a modal composer. 744.

Kabisch, Thomas. “Faurés Klaviersatz.” In Gabriel Fauré: Werk und Rezeption, edited by Peter Jost, 83–88. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

Discusses the texture of Fauré’s writing for piano in its interaction with formal and harmonic structure using the Fifth Impromptu Op. 102 and the Sixth Nocturne Op. 63 as examples; views Fauré’s writing for the instrument as the continuation of the essence of the tradition of virtuoso pianism without reference to a particular earlier style. 745.

Landowski, W.-L. [Alice Wanda].155 Frederic Chopin et Gabriel Fauré. Paris: Richard-Masse, 1946. 222pp.

Considers Fauré and Chopin as “deux artistes, un même idéal”; finds similarities in their lives; makes a detailed, if ultimately subjective and superficial, comparison of like-titled works of the two composers.

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746.

Long, Marguerite. Au piano avec Gabriel Fauré. Paris: René Julliard, 1963. 206pp.

The author’s own, highly colored account of her acquaintance with Fauré and his music; while Long was a famous interpreter of Fauré’s music and her recollections are certainly not without value, the book should be read together with a modern biography which treats more objectively the relationship between Long and Fauré (such as items 96/ 100). 156 Includes as appendix a study of Pénélope by Joseph de Marliave, the husband of Marguerite Long (see item 1079).157 747.

——. At the Piano with Fauré. Translated by Olive SeniorEllis. London: Kahn and Averill, 1980. v, 130pp. ISBN 0-90070745-3. Republished. New York: Taplinger, 1981. v, 130pp. ISBN 0-8008-0505-4

A translation of item 746. 748.

Review: Friedland, Bea. Notes 39, no. 1 (September 1982): 90–91.

A highly critical review decrying the author’s “vaporous rhetoric” and “not-so-subtle self-promotion” which provide almost no insight into Fauré’s character and do little to illuminate his music; also sharply criticizes the organization of the book as well as the translation. 749.

Review: Hinson, Maurice. Journal of the American Liszt Society 12 (December 1982): 109.

A much shorter—three paragraphs, one of which is devoted to the appendix on Pénélope by Marliave—and less critical review than item 748 although mention is made of “flowery language” which substitutes for detailed analysis and suggestions for performance. 750.

Lortat, Robert. “Gabriel Fauré.” Conférencia 16 and 17 (5 and 20 August 1929): 188–98, 252–64.

Transcription of a two-part lecture recital given by Lortat in the winter of 1929; the author discusses Fauré as man and composer using the piano compositions as examples; suggests that Fauré’s harmonic and rhythmic style is essentially a subtle chamber style not meant for large audiences; maintains that Fauré’s music is absolutely non-referential

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(although the author repeatedly finds such reference in his examples); places Fauré in the history of music as an innovative conservative who in his modernity continued “les traditions du romantisme”—compares Fauré with Chopin several times; also considers the First Piano Quartet, quoting Ducasse (item 818). 751.

Owyang, Lily S. “The Solo Pianoforte Works of Gabriel Fauré.” Mus.A.D. dissertation, Boston University, 1973.

Not seen. 752.

Pearson, Lillian B. “The Pianistic Style of Gabriel Fauré: An Examination of the Nocturnes.” D.Mus. dissertation, Florida State University, 1975.

Not seen. 753.

Pistone, Danièle. Le piano dans la littérature française des origines jusqu’en 1900. Lille: Atelier Reproduction des Thèses, 1975. 594pp.

Divided into three sections: a history of the instrument (including its social history); an overview of performers, teachers, and compositions; and a study of the treatment of the piano by certain writers (Stendhal, Balzac, Sand, Flaubert, Goncourt, and Zola); there are only two references to Fauré, one of which might be considered controversial: the author asserts (265, n. 43) that in the genre of song the accompanying piano had to wait for the compositions of Debussy to achieve full expressive power. 754.

Roberson, Richard E. “The Nocturnes of Frederic Chopin and Gabriel Fauré; a Lecture Recital, together with Three Recitals of Selected Works by Other Composers for Piano.” D.M.A. dissertation, North Texas State University, 1979.

Examines the early nocturnes of Fauré for the influence of Chopin which the author finds most strongly evident in Fauré’s harmonic language and most weakly so in his melodic writing; contends that the ternary form of Fauré’s nocturnes is inherited from Chopin, as well; asserts that Fauré’s late nocturnes abandon the Chopin-like texture of the earlier ones in favor of a more contrapuntal style.158

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755.

Roger-Ducasse, Jean. Preface to Hull nocturnes, new revised edition, by Gabriel Fauré, i–viii. Paris: Hamelle, 1924.

The author—who believes that, particularly in the nocturne, Fauré is Chopin’s heir and, indeed, his equal—undertakes this edition in the hope of establishing an authentic performance tradition of Fauré’s piano works. The preface begins with general technical advice before continuing with commentary about the performance of the individual pieces. 756.

Rostand, Claude. Les chefs-d’œuvre du piano. Paris: Éditions le bon plaisir, Librairie Plon, 1950. 320pp.

Fauré is briefly discussed (219–225) in the penultimate chapter, “La musique de piano moderne” (the last chapter being “La musique de piano contemporaine”). The author characterizes Fauré as a composer of “la musique pure,” as both a classicist and an innovator (neither reactionary nor revolutionary), and compares him to Brahms; divides his piano works into periods and describes certain of them in florid prose. Preface is by Alfred Cortot. 757.

Rowley, Alec. “The Pianoforte Music of Gabriel Fauré.” Chesterian 12, no. 96 (July 1931): 224–27.

A very brief, non-technical overview of some of Fauré’s works for piano. The author makes familiar observations about the music: that it appears youthful, that its complexities are not immediately apprehensible; lists a number of details which for him prove Fauré’s musical craftsmanship; finds in the music the influence of Schumann and especially Chopin. 758.

Saint-Jean, J. [Joseph de Marliave].159 “La musique de piano de Gabriel Fauré.” Musica 77 (February 1909): 24.

Notes that Fauré’s piano music puts the lie to the idea that only pianists can write for the instrument but does observe that Fauré’s piano works, closer to pure music and not instrument-dependent, presents performing difficulties different from those of the compositions of his virtuoso predecessors; calls Fauré the direct heir of Chopin and puts his piano works on a level with those by Chopin and Mozart.

Bibliography 759.

305

——. “La musique de piano de Gabriel Fauré.” La nouvelle revue, January 1910, 256–72.

The first part of the article is an insightful appraisal of Fauré’s style and his influence on later composers; the author considers in detail various aspects of the idiomatic character of Fauré’s writing for the piano and declares him to be the descendant of Liszt and, particularly, Chopin (as noted in item 758). The subsequent discussion of individual pieces is for the most part descriptive, making use of vague and flamboyant metaphor, and is less useful. The section on the “Ballade” derives from an earlier article (see item 771). The entire article was reprinted as “Un musicien français: Gabriel Fauré—A. Sa musique de piano,” in Études musicales (Paris: F.Alcan, 1917), 1–34. 760.

Sanger, George N. “Chromaticism in the Solo Keyboard Works of Franck and Fauré.” Ph.D. dissertation, University of Pittsburgh, 1976.

A statistical study of the level of chromaticism in works of the two composers; using pitch duration, computes ratios of the occurrences of diatonic to chromatic pitches at foreground and middleground levels; levels of chromaticism are discussed for each composer in relation to the chronology of a composer’s output and to a variety of forms.160 761.

Solliers, Jean de. “Fauré et le piano.” Études fauréennes 17 (1980): 11–16.

The author suggests that Fauré’s writing for the piano is a reflection of his own piano technique and mentions in this regard that Fauré was trained as an organist; cites a number of other writers in support of a general description of Fauré’s style but supplies no specific musical illustrations of the connection between technique and style; is of the opinion that the contrapuntal aspect of Fauré’s piano music is more important than the harmonic; quotes Marliave (item 759, as reprinted in Études musicales); discusses a few textual problems in available editions of the music.

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762.

Timbrell, Charles. French Pianism: An Historical Perspective including Interviews with Contemporary Performers. White Plains, New York: Pro/Am Music Resources, Inc., 1992. xvi, 288pp. ISBN 0-912483-89-X London: Kahn & Averill, 1992. ISBN 1-871082-49-8

The author declares in his preface that he is “equally concerned with historical developments, performance, and pedagogy…”; the first section of the text deals with the piano in the nineteenth century including specific discussion of the instruments of the period, of the Paris Conservatoire, of composers, performers, and teachers, and of historic recordings; later chapters examine the careers of important teachers during the first four decades of the twentieth century and during the period following the Second World War; included as well are interviews with pianists who are heirs to this tradition. The book does not deal with Fauré directly but does discuss piano performance in his era, mentioning specifically pianists who performed his works—Risler, Long, and Cortot, and interviews pianists who perform them today—Johannesen and Collard. 763.

Valicenti, Joseph A. “The Thirteen Nocturnes of Gabriel Fauré.” D.M.A. dissertation, University of Miami, 1980.

A discussion of the nocturnes including a comparison with those of Chopin and Field.161 764.

Wegren, Thomas J. “The Solo Piano Music of Gabriel Fauré.” Ph.D. dissertation, Ohio State University, 1973.

Finds the essential quality of Fauré’s style in his original use of familiar aspects of harmony, melody, and texture and maintains that without an understanding of Fauré’s “individual musical vocabulary” a musician will neither appreciate the depth of the music nor perform it correctly; in this spirit, considers details of piano technique such as fingering, pedalling, and use of rubato; believes that too much emphasis has been placed on so-called modal usages and that Fauré’s harmonic language results from the interaction of melody, embellished and rhythmically free, above “supple and elastic basses” (here compares Fauré with Bach); suggests that Fauré “prefigures later composers of non-tonal centered music” and compares his position in music history to that of Valéry in literature. See also items 394, 456, 800, and 806.

Bibliography

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Romances sans paroles, Op. 17 765.

Frerichs, Ken. “Gabriel Fauré: Herald of French Impressionism.” Clavier 20, no. 2 (February 1981): 23–28.

A short, general, and unfocused article which makes the assertion implied by the title but does not attempt to demonstrate it, concentrating instead on generalizations about Fauré’s style; concludes with instructions on the performance of the third Romance, the score of which is reproduced. Ballade, Op. 19 766.

Auclert, Pierre. “La ‘Ballade’ Op. 19 de Fauré.” Association des amis de Gabriel Fauré: Bulletin 15 (1978): 3–11.

The author expresses his preference for the orchestral version of the piece, but does suggest that, given the limited orchestration, it is a chamber work; appears not to credit greatly Marliave’s assertion that the piece was inspired by the forest murmur section of Siegfried and suggests, instead, that Wagner’s influence is in Fauré’s daring to create a larger work than had been his custom; discusses key structure and thematic development in the “Ballade.” Having studied with Marguerite Hasselmans, Auclert passes on her corrections to the Hamelle edition and suggestions for performance of certain sections (10); this part of the article contains numerous errors which are corrected in the next issue of the periodical (16:19).162 767.

Barraqué, Jean. “Analyses: ‘Ballade’ Op. 19 de Gabriel Fauré.” In Larousse de la musique, edited by Norbert Dufourcq, I, 598–99. Paris: Librairie Larousse, 1957.

An concise, event-by-event description of the “Ballade,” divided into sections by tempo changes; provides no information which cannot be easily read from the score. 768.

Cortot, Alfred. “La visage innombrable de la musique: Le dialogue du piano et de la symphonie.” Conférencia 32, no. 12(1 June 1938): 698–700.

Disputes the famous story that Liszt found the “Ballade” too difficult; characterizes the orchestra part not as an accompaniment but as an atmosphere; discusses “quatre épisodes de rythmes distincts”; cites Kœchlin in underlining the programme of the forest setting.

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769.

Long, Marguerite. “A propos de la ‘Ballade’ de Gabriel Fauré.” L’art musical 4, no. 122 (5 May 1939): 881–83.

The larger part of the essay discusses in general the style of Fauré’s writing for the piano; Long defends Fauré’s individuality, compares his more traditional approach to that of Debussy, and expresses the opinion that Fauré is the descendant of Chopin and Liszt. This last idea, as well as the notion that the “Ballade” exhibits a Wagnerian influence, is taken directly (and, in places, verbatim) from articles by the author’s husband, Joseph de Marliave (see items 759 and 771). Long also repeats the familiar story of Liszt’s finding the “Ballade” too difficult. 770.

Parakilas, James. Ballads without Words: Chopin and the Tradition of the Instrumental Ballade. Portland, OR: Amadeus Press, 1992. 328pp. ISBN 0–9310340–47–0

The author’s detailed discussion of the Fauré “Ballade” presents a formal analysis based on the interaction of thematic material; views the “Ballade” as “a musical discourse on the subject of nature or of natural process” and finds there the only parallel to Wagner; cites the influence of Chopin (the “Barcarolle” and the Sonata in b minor) and suggests that Fauré’s piece influenced in specific ways Debussy and other impressionists. 771.

Saint-Jean, J. [Joseph de Marliave]. “Revue musicale: Les concerts.” La nouvelle revue, 15 October 1907, 570–73.

The essay begins with a comparison between the conceit of programme music and that of newer, impressionistic pieces. In his discussion of the “Ballade,” the author cites a Wagnerian influence but nevertheless casts Fauré in the role of the precursor of impressionism; finishes with a laudatory description of the First Piano Quintet Op. 89. 772.

Stegemann, Michael. Camille Saint-Saëns and the French Solo Concerto from 1850 to 1920. Trans. Ann C.Sherwin. Portland, OR: Amadeus Press, 1991. 341pp. ISBN 0–931340–35–7 Originally published as Camille Saint-Saëns und des französische Solokonzert von 1850 bis 1920. Mainz: B.Schott Söhne, 1984.

Repeats the idea that the piece exhibits a Wagnerian influence and the story of Fauré’s playing it for Liszt and gives a brief formal description (200f); finds the influence of Saint-Saëns in the Violin Concerto Op.

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14 (197); dismisses the orchestrated version of the “Berceuse” Op. 16 as “of no great importance” (208); suggests that Saint-Saëns, Fauré, and Brahms were similar in that they were “interested more in giving form to the material at hand than in seeking new possibilities for expression” (67). 773.

Steinbauer, Robert A. “… A Discussion of the Fauré ‘Ballade for Piano and Orchestra’ Op. 19, 1877….” D.Mus. dissertation, Indiana University, 1960.

Not seen; however, the complete title indicates that the Third Piano Sonata of Krenek and keyboard suites of Handel are also discussed. 774.

Udine, Jean d’ [Albert Clozanet]. “Les grands concerts: Conceits Colonne et Lamoureux.” Le courrier musical 10, no. 2 (15 January 1907): 38–40.

A laudatory review of a concert which included a performance by Cortot of the “Ballade” in the version for piano and orchestra; says that if one did not know the piece to have been composed twenty years before [sic], one would suggest that Fauré had been influenced by Debussy. 775.

Upper, Henry A. “An Historical and Analytical Study of Selected Works for Piano Obbligato with Orchestra.” D.M.A. dissertation, Indiana University, 1971.

Discusses the “Ballade” as one of “four compositions for piano and orchestra inspired by extra-musical subjects.”163 First Barcarolle, Op. 26 776.

Jones, J.Barrie. “Fauré’s Performance Practice.” Tempo 151 (December 1984): 32–35.

Citing Fauré’s piano-roll performance of Op. 26 as evidence, Jones argues against a tempo giusto approach to Fauré’s piano music and asserts that a judicious use of rubato is entirely appropriate; maintains that Fauré’s own dislike of rubato must be understood in the context of the overly romantic performance style of his own day.

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Third Barcarolle, Op. 42 777.

True, Wesley. “Early Twentieth Century Music: A Linguistic Dilemma.” Journal of the American Liszt Society 19 (June 1986): 43–48.

Uses the history of language as a model for the transition from tonality to atonality in Western music in the early twentieth century; illustrates the model with brief descriptions of six pieces by various composers including Op. 42 of Fauré. Simplistic in its view of music history, its logic, and in its analyses; inappropriately chatty in style. Dolly, Op. 56 778.

Cortot, Alfred. “La visage innombrable de la musique: La musique inspirée par l’enfance.” Conférencia 32, no. 11 (15 May 1938): 640–49.

Remarks from one of a series of lecture-recitals given on 3 February 1938 and including works by Schumann, Musorgsky, Debussy, and Fauré. While admitting that Fauré might not have approved, Cortot presents a programmatic interpretation of the titles of the movements—misunderstanding, as have so many writers, the meaning of “Mi-a-ou.” 779.

Lubin, Ernest. The Piano Duet: A Guide for Pianists. New York: Grossman, 1970. Reprint. New York: Da Capo, 1976. xii, 221pp. ISBN 0–306–80045–4

Brief section on Dolly describes the movements and offers advice for performance; mentions, as well, “Souvenirs de Bayreuth.” 780.

Willy [Gauthier-Villars, Henry].164 “Concerts.” Revue internationale de musique 6 (15 May 1898): 365–69.

Among other concert reviews, an account of the first performance of Dolly, played by Risler and Cortot, at the Société nationale165; GauthierVillars says only that the pieces are “charmantes” and “un enchantement”; the program included other works by Fauré for voice and for solo piano. See also item 739.

Bibliography

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Dolly, Op. 56, as ballet 781.

Boschot, Adolphe. “La musique: Une affiche où l’on voit réunis Chabrier, Lully et M.Fauré.” Echo de Paris, 11 January 1913, 4.

A review of the ballet based on the Dolly suite in an orchestra tion by Henri Rabaud166; Boschot does not care to see the piece danced as it is perfect in itself but would rather see such an adaptation than see the work forgotten. 782.

Lalo, Pierre. “La musique: … Dolly, divertissement chorégraphique de M.Laloy, sur la musique de M.Gabriel Fauré….” Le temps, 28 January 1913, 3.

Criticizes the ballet for having absolutely no programmatic connection with the music. 783.

Malherbe, Henry. “La renaissance du ballet français.” Musica 140 (May 1914): 95.

A very brief reference to a performance of the ballet based on Dolly at the Théâtre des Arts. 784.

Ravel, Maurice. “Au Théâtre des Arts.” Comœdia illustré 5, no. 9 (5 February 1913): 417–20.

A brief but favorable review of the ballet based on Dolly, without providing an answer (and with some irony), Ravel also raises the question of the advisability of this sort of representational realization of pure music. See also item 785. 785.

Vuillemin, Louis. “Les spectacles de musique au Théâtre des Arts.” Comœdia, 10 January 1913, 3.

A brief, adulatory review of the Dolly ballet, itself (in the same production reviewed by Ravel, item 784); accompanied by a review of the performance (the dancers in the ballet and the musicians performing other works on the program) by George Linor and an article by Louis Schneider about the stage setting. Sixth Nocturne, Op. 63 See item 744.

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Theme and Variations, Op. 73 786.

Robert, Gustave. La musique à Paris—Études sur les concerts— Programmes—Bibliographie des ouvrages sur la musique parus pendant l’année—Index de noms cités. Vols. 1–3, Paris: Fischbacher, 1894–1896; Vols. 4–5, Paris: Ch. Delagrave, 1897–1900.

Included in these summaries of concert activities in Paris is a remark about Op. 73 which makes the familiar comparison to Schumann but praises passages which are original and notes how well the piece is written for the piano (4:101). 787.

Stokan, David S. “A Stylistic and Performance Analysis of Variations for Piano by Saint-Saëns, Fauré and Dukas.” D.Mus. dissertation, Indiana University, 1979.

Not seen. Pieces Brèves, Op. 84 788.

Dumm, Robert. “A Fauré Improvisation.” Clavier 15, no. 4 (1976): 20–23.

The article deals specifically with “Improvisation” Op. 84, No. 5; begins with a discussion of Fauré’s piano style which summarizes the views of earlier performers and authors (Evelyne Crochet, Louis Aguettant, Émile Vuillermoz); continues with advice for performance of the piece (a piano lesson in print) and an edition of it with fingerings and pedallings by Dumm. Fifth Impromptu, Op. 102 See items 527 and 744. Préludes, Op. 103 789.

Solliers, Jean de. “Les neuf Préludes Op. 103.” Association des amis de Gabriel Fauré: Bulletin 12 (1975): 5–8.

In a brief overview, the author sets these pieces within Fauré’s output and describes them as restrained, interior, and classical in design but still

Bibliography

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slightly improvisatory in character; there follow brief programmatic descriptions of the individual pieces. See also item 517. Thirteenth Barcarolle, Op. 116 See item 530. Thirteenth Nocturne, Op. 119 See item 643. Souvenirs de Bayreuth, WwO See item 779. Performers 790.

Kabisch, Thomas. “Eine Mittelstimme in der Partitur der Musikgeschichte: Jean-Philippe Collard, Gabriel Fauré und die ‘Musique franchise’.” Neue Zeitschrift für Musik 152, no. 4 (April 1991): 26–31.

Describes in detail the special demands which French music— particularly that of Fauré—makes upon a performer, citing as example the seventh of the Préludes Op. 103; by an equally technical discussion of Collard’s playing style shows not only how suited he is to rendering the “precise ambiguity” (“präzise Vieldeutigkeit”) of Fauré’s music but also how successful his approach can be to works not in the French tradition. Harp Works See item 800.

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Chamber Works 791.

Alain, Olivier. La musique de chambre. Paris: Société française de diffusion musicale et artistique, 1954. 47pp.

A cursory overview of chamber music over four centuries; the only mention of Fauré is the author’s assertion that the modal techniques of Messiaen and Jehan Alain owe nothing to those of late Fauré. 792.

Aprahamian, Felix. “The Chamber Music of Gabriel Fauré.” The Listener 69, no. 777 (18 April 1963): 692.

In the context of a brief, but pithy, history of Fauré’s chamber compositions (done in anticipation of a series of broadcasts of them), the author traces the composer’s stylistic development (noting that the music of Wagner had no influence on it but suggesting that his education at the École Niedermeyer did) and finds it to be non-linear: Fauré’s compositional mastery can be seen from Op. 13, and material from youthful compositions reoccurs in his most mature works. A very insightful overview for such a short article. 793.

Barshell, Margaret L. “Gabriel Fauré: A Biographical Study and a Historical Style Analysis of His Nine Major Chamber Works for Piano and Strings.” D.A. dissertation, Ball State University, 1982.

The author contends that the typical ordering of movements within pieces and the extensive use of sonata form for individual movements reveal a strong historical influence on Fauré; characterizes his style as one in which modality is mingled with an essentially tonal structure which is revealed in sonata-form movements in strong cadential motion at the end of the first theme group and beginning of the recapitulation and in melodic patterns which affirm tonality in ways analogous to the melodic affirmation of modality in plainchant; asserts that the conclusion of every work in the major reveals “that Fauré…placed a kind of hierarchical value on the major mode” (105); suggests that Fauré’s deafness was one reason for the austere style of his late works. 794.

Breitfeld, Claudia. Form und Struktur in der Kammermusik von Gabriel Fauré. 2 vols. Kassel: Bärenreiter, 1992– . 283, 87pp. ISBN 3–7618–1049–0

Begins with an introductory section which discusses briefly chamber music in France from the mid-nineteenth century to Fauré and Fauré’s

Bibliography

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musical education and gives an overview of Fauré research, particularly in chamber music. The analytical work deals with the form and structure of larger, multi-movement chamber pieces, specifically with how thematic and harmonic organization communicate sonata form; categorizes both themes and variations on the form; presents a detailed consideration of the relationship between movements in the Second Violin Sonata Op. 108. The second volume includes formal diagrams of movement structure of the ten principal chamber works and a bibliography. An important work. 795.

Capri, Antonio. La musica da camera dai clavicembalisti a Debussy. Bari: Guis. Laterza & Figli, 1925. 266pp.

Remarkable only in that while the last chapters deal with Schumann, Liszt, and Brahms and with Strauss and Debussy, no mention at all is made of Fauré. 796.

Cœuroy, André, and Claude Rostand. Les chefs-d’œuvre de la musique de chambre. Paris: Éditions de bon plaisir, Librarie Plon, 1952. 282pp.

Part of a series, Amour de la musique, for the informed amateur; considers chamber works of composers from the late seventeenth century to the mid-twentieth century. Rostand wrote the section on Fauré which consists of paragraph descriptions of the violin and violoncello sonatas, the piano quartets and quintets, and the string quartet; bibliographic references to Kœchlin’s biography (item 92) and Rostand’s own monograph (item 466). 797.

Dahlhaus, Carl. Nineteenth-Century Music.167 Translated by J. Bradford Robinson. Berkeley: University of California Press, 1989. x, 417pp. ISBN 0–520–05291–9

Suggests that Fauré’s chamber works, like those of Saint-Saëns and Franck, are occasionally regarded as salon pieces not because Fauré had insufficient command of harmonic and contrapuntal technique but rather because casual listeners who are swept along by the melodic character of the music miss the sophistication of its harmony and rhythm. 798.

Duchesneau, Michel. “The Triumph of Genre: Fauré’s Chamber Music through the Looking Glass of Music Criticism.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

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An examination of the role played by critics in the establishment of Fauré’s chamber works as models to be emulated by younger composers—advice more easily given than followed.168 799.

Fauré-Fremiet, Philippe. “La musique de chambre de Gabriel Fauré.” Le monde musicale 41, no. 6 (30 June 1930): 227–29.

The article comprises lectures delivered by the author before two concerts of Fauré’s chamber music at the École Normale. The author describes Fauré’s style as already mature in his first major chamber work with subsequent pieces representing a process of refinement in a movement toward absolute music (“la musique pure”); his evidence for this viewpoint is both documentary (thematic material from early compositions used in the late works) and analytical (Fauré’s maintaining of the opposing elements of sonata form even as he took liberties with the strict classical model). 800.

Favre, Max. Gabriel Faurés Kammermusik. Zürich: Max Niehans Verlag, [1948]. 273pp.

Originally the author’s dissertation, the University of Bern (1947); deals not only with chamber music as usually defined but also with solo works for piano and harp; includes an introductory discussion of the French romantic period and nineteenth-century chamber music in France before Fauré and an analysis of the melodic, harmonic, and—most importantly—formal aspects of Fauré’s style in the genre. The author sees Fauré as a transition figure between the romantic period and the twentieth century. List of works, bibliography. Careful, detailed, and worth attention. 801.

——. “L’évolution du style de Fauré dans les œuvres de musique de chambre.” Feuilles musicales 7, nos. 4–5 (May-June 1954): 85–88.

Traces a logical and linear development of Fauré’s style from a classic regularity of theme and form to a “organic” structure based on an increasingly irregular and developmental melodic organization, a tendency to polyphonic texture, a novel use of traditional harmonic vocabulary, and a more subtle juxtaposition of formal elements. Brief, but well-written; a starting point for any investigation of Fauré’s style.

Bibliography 802.

317

Ferguson, Donald N. Image and Structure in Chamber Music. Minneapolis: University of Minnesota Press, 1964. xi, 339pp.

Fauré is included in the chapter, “Nationalistic Chamber Music”; characterizes Fauré’s chamber music as both unmistakably French and a reflection of “what is probably the maturest civilization… in the modern world” but too aloof for the average listener. The author treats Opp. 13, 15, and 89 in an informed, movement-by-movement description and makes a very brief mention of Op. 121. Reading of the preface essential for understanding the author’s stance. 803.

Gut, Serge, and Danièle Pistone. La musique de chambre en France de 1870 à 1918. Paris: Honoré Champion, 1978. 239pp. ISBN 2–85203–048–9

The first half of this work is devoted to an examination of the political, social, and musical life of the period in general and of the place of chamber music in particular; discusses individuals and institutions which determined musical trends; credits Fauré’s appointment to the Conservatoire (1896) with renewed interest in instrumental music there. The second part treats the works of individual composers: Franck and his disciples, Saint-Saëns, Fauré and his followers (Kœchlin, Schmitt, Ravel), and Debussy. Authors make great use of comparative charts and tables; the book is useful for historical facts thus assembled and organized. However, the prose style is very sparse with information often presented in outline form without discussion; familiar stylistic characterisations of Fauré’s music restated facilely and without the evidence of musical examples. Two brief appendices and a short bibliography. 804.

Review: Hirsbrunner, Theo. Die Musikforschung 34, no. 1 (1981): 81–82.

A short review which recommends the book as a starting point for deeper research and as a compilation of facts so thorough as to excuse numerous “elegant but meaningless sentences” in the discussion of the lives and styles of the composers cited. 805.

Halbreich, Harry. “La musique de chambre de Gabriel Fauré.” Harmonie 151 (October 1979): 42–51.

A critique of Fauré’s style in the ten major chamber works with attention to the details of harmony, counterpoint, rhythm, and form; the

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author examines the musical and extra-musical reasons for the neglect of Fauré’s music; dismisses the cliché comparisons of Fauré’s compositions to the works of Schumann, Brahms, and Chopin and finds similarities instead in the music of Bach, Beethoven, and Bruckner. 806.

Hermant, Pierre. “Musique de chambre et piano.” Chapter 6 in Cinquante ans de musique française de 1874 à 1925, edited by Ladislas Rohozinski, 2:63–136. Paris: Librairie de France, 1925.

Hermant’s sketch of the history of chamber music in France depicts Fauré both as the spiritual descendant of Saint-Saëns and, through him, of Mendelssohn and as the ancestor, in the same rather vague way, of Ravel and his other pupils; characterises Fauré as an exponent of pure music and describes his style in familiar terms—classical, balanced, Attic. Hermant provides brief descriptions of most of the pieces in both genres, although he appears to be ignorant of the existence of the String Quartet. 807.

Honegger, Arthur. “Pour la musique de chambre.” In Incantation aux fossiles, 133–38. Lausanne: Éditions d’Ouchy, 1948.

The author deplores the lack of interest in chamber music which he blames on the love of the public for grand spectacle, the inability of critics to discuss “music in its pure state,” and the tendency of composers to write chamber music so difficult as to discourage performance; suggests subsidies for chamber music ensembles as exist for orchestras; makes the comment that there is more music in two pages of one of Fauré’s quartets than in all of Berlioz’s “theatrical” Requiem. 808.

Imbert, Hugues. “Les nouveaux professeurs de composition au Conservatoire de Paris.” Le guide musical 42, no. 45 (8 November 1896): 725–26.

An article concerning the appointment of Widor and Fauré to chairs in composition; of Fauré, asserts that he is the first in France since Alexis de Castillon to give to chamber music the depth and intensity it merits; says that, like Brahms, Fauré prefers “la musique symphonique” to stage music.

Bibliography 809.

319

Imbert, Maurice. “Gabriel Fauré.” Le courrier musical, 15 March 1929, 179–80.

A brief survey of Fauré’s major chamber works; asserts that Fauré’s style in this genre was formed early at the Niedermeyer school by his contact with Saint-Saëns to whom he owed his bent to classicism in form and with Lefèvre who influenced him in the parameters of rhythm and harmony—mentions particularly “modulations par accords supposés” as the basis for Fauré’s harmonic language; finds, as well, the influence of Schumann in the early works; suggests Fauré would have reworked passages of the String Quartet had he lived longer. 810.

King, A[lexander] Hyatt. Chamber Music. London: Max Parrish & Co.; New York: Chanticleer Press, 1948. 72pp. Bibliography, illustrations.

There is only one brief reference (two sentences) to Fauré’s major chamber works (62) in which the composer’s highly refined style is placed outside the Franck tradition. 811.

Landormy, Paul. “La musique de chambre.” In Rapport sur la musique française, edited by Paul-Marie Masson. Rome: Armani & Stein, 1913.

Landormy includes Fauré with “Les impressionnistes” and implies that his style goes well beyond “la solidité de sa culture classique” learned from Saint-Saëns (113). 812.

Lockspeiser, Edward. “French Chamber Music (from 1700).” Chapter 16 in Chamber Music, edited by Alec Robertson, 357– 89. Harmondsworth: Penguin Books, Inc., 1957.

The section on Fauré (370–78) mentions all of the major chamber works, and while discussion of them is brief (sometimes less than a sentence), the author does contribute some useful insights about Fauré’s style and craft in this genre. Describes Fauré’s style as the “full expression” of that initiated by Saint-Saëns and Lalo, contrasts his harmonic usage with that of Franck, and, in his “profundity of sentiment,” compares him to Brahms. 813.

Meloncelli, Raoul. “Caratteri, forme et stili della musica da camera di Gabriel Fauré.” Note su note 1, no. 1 (June 1993): 199–235.

Not seen.

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814.

Meunier-Thouret, Marc. “L’âme de la musique de chambre: Vivaldi et Hændel.” Les annales 78, no. 253 (November 1971): 13–22.

The article begins as an overview of the history of chamber music from a musico-sociological perspective but soon loses its focus and rambles; the concluding section deals with Fauré first by comparing his obscurity to Handel’s fame and then by turning to an anecdotal memoir of Fauré by the violinist, Jules Boucherit. Not useful. 815.

Orrey, Leslie. “Gabriel Fauré, 1845–1924:2. The Chamber Music.” Musical Opinion 68, no. 812 (May 1945): 229–30.

A brief, descriptive, and rather pedestrian overview of the major chamber works (except for the two sonatas for violoncello); the author finds a great difference between early and late works which he attributes to the “purification” of Fauré’s style and to the waning of German influence on French music. The second of two articles on Fauré, the first of which deals with the songs (see item 590). 816.

Penesco, Anne. “Die Violine in Faurés Kammermusik.” In Gabriel Fauré: Werk und Reception, edited by Peter lost, 77–82. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

An examination of various technical aspects of Fauré’s writing for the violin—register, fingering, double stops, dynamics, pizzicato, register—in order to determine how closely his treatment of the instrument comes to Verlaine’s ideal music. 817.

Richards, Katherine. “A View of the French Chamber Music ‘Renaissance’ from Parnassus.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

Finds “a common cultural thread” between the aesthetic principles of the Parnassian movement in literature and a renewed interest in chamber music in France.169 818.

Roger-Ducasse, Jean. “La musique de chambre.” La revue musicale 4, no. 11 (October 1922): 60–79.

Comparing Fauré with Schumann and Chopin, the author believes his genius to be suited to the subtleties of chamber music which demand

Bibliography

321

greater skill than orchestral composition; asserts that Fauré follows classical forms (although one footnote indicates that the author does not truly understand the nature of sonata form). His analyses (dealing principally with thematic development) illustrate a metaphorical comparison of individual movement types to sections of a medieval cathedral. He declares that Fauré has solved the “problem” of the finale which, in the author’s view, must be a unifying and summarizing movement; also believes that Fauré is “le maître par excellence de la musique française” whose influence will be more profound and longerlasting than that of Debussy. Useful for a number of insights which suggest avenues of further analytical research. 819.

Rollin, J. “La musique de chambre de Gabriel Fauré.” L’éducation musicale 9, no. 9 (June 1954): 7, 11.

A very brief overview of Fauré’s chamber music; suggests that while Fauré’s melodic and harmonic usage are his own, he owes his idea of form to Saint-Saëns; also finds a connection between La bonne chanson and the last movement of the Second Violin Sonata. 820.

Schmitt, Florent. “Gabriel Fauré.” In Cobbett’s Cyclopedic Survey of Chamber Music, 2d ed., edited by Walter Willson Cobbett and Colin Mason, 1:386–92. London: Oxford University Press, 1963.

List of the ten principal chamber works with publisher and dates of composition (unreliable) followed by detailed descriptions of most of them in flowery language. The author believes Fauré’s chamber music to be more significant than his compositions for piano or voice. Useful as a guide to first hearing of the works discussed but not otherwise significant. 821.

Stevens, Denis. “Duet Sonatas without Wind Instruments (from 1700).” Chapter 12 in Chamber Music, edited by Alec Robertson, 253–87. Harmondsworth, England: Penguin Books, Inc., 1957.

The author devotes one paragraph (278f) to the violin and violoncello sonatas in which the pieces, their dates, and their dedicatees are identified but in which virtually nothing is said about the music itself. Not important.

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822.

Tanner, A. “Remarques sur Fauré à propos de ses deux sonates de violin.” Schweizer Musikpäd. Blätter, 1937, 203, 219, 235.

Not found as cited. 823.

Thibaud, Jacques. “La musique de chambre.” In Gabriel Fauré, 23–30. Paris: Les publications techniques et artistiques, 1946.

A descriptive survey, written as a tribute to Fauré, which treats the ten principal chamber works and mentions the smaller pieces; commentary is so general that much of what is written about one piece could apply equally well to another. Not very useful. 824.

Thomas, Marie-Maud. La musique de chambre de Gabriel Fauré: Une étude de style. Port-au-Prince: [n.p.], 1994.

The author’s Ph.D. dissertation, Universität Bonn, 1993; not seen. 825.

——. “Stilelemente in Faurés Kammermusik.” In Gabriel Fauré: Werk und Reception, edited by Peter Jost, 58–65. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

Divides Fauré’s style into various elements including use and adaptation of form (over small and large spans of music), treatment of themes, tempo, harmonic usage (citing the familiar fluidity and preference for modality but also asserting a change in harmonic language between early and late styles), and surface figuration and accompaniment figures; refers to a number of works but concentrates on Opp. 13 and 115. 826.

Ulrich, Homer. Chamber Music. 2d ed. New York and London: Columbia University Press, 1966. xvi, 401pp. ISBN 0-23102763-X

A survey of chamber music from the Baroque to the midtwentieth century; Fauré is included in the chapter, “The Contemporary World,” although the treatment, while sympathetic, is very brief (two paragraphs) and identifies Fauré with the “rearguard” of romanticism. 827.

Vuillermoz, Émile. “La musique de chambre de Gabriel Fauré.” Musica 77 (February 1909): 23.

Author believes chamber music to be the genre most revealing of a composer’s soul and, therefore, the essential Fauré; mentions the innovative nature of Fauré’s harmonies. See also items 549 and 743.

Bibliography

323

First Violin Sonata, Op. 13 828.

Anon. “Nouvelles musicales de l’Exposition.” Revue et gazette musicale 45, no. 27 (7 July 1878): 214.

A report on recent chamber music concerts at the Trocadéro; except for the minor criticisms that the first movement has a few dull patches and the last movement is a bit labored, extravagant in its praise of the sonata. 829.

Beechey, Gwilym. “The Violin Sonatas of Gabriel Fauré.” Strad 86, no. 1028 (December 1975): 559–77.

A flowery, movement-by-movement description of the sonatas dealing principally with their various themes which, in the author’s view, are derived from each other or from the works of Bach, Beethoven, Brahms, Elgar, Franck, Mendelssohn, Mozart, Ravel, and Tchaikovsky. Not convincing and of little importance. 830.

Brande, Émile. “La premiere sonate pour violon et piano de Gabriel Fauré.” Attached to Charles Hertich’s La génie poétique de Gabriel Fauré (item 170), as 29–31. Saint-Étienne: Éditions de flambeaux, 1945.

The intent of these few pages, composed in a kind of ecstasy, is difficult to determine: “La Sonate…nous emmène ainsi dans [une] région vaporeuse où tout se cristallise en beau, en bien et en pur”—and, in speaking of two themes in the Andante, “Divin dialogue de deux âmes! …elles cachent une vérité qui arrive à se révéler dans l’énivrement lent d’un amour confondu.” 831.

Devine, Patrick. “Fauré’s First Successful Sonata Movement.” In Musicology in Ireland, Vol. 1 of Irish Musical Studies, 264–77.

Charts thematic organization and key areas of the opening movement’s sonata form; remarks on various harmonic, rhythmic, and textural elements; compares the piece with certain chamber works of SaintSaëns. 832.

Loft, Abram. “Some French Sonatas of the Nineteenth Century and a Twentieth-Century Hangover: Fauré, Franck, Saint-Saëns,

324

Gabriel Fauré: A Guide to Research d’Indy.” Chapter 6 of Violin and Keyboard: The Duo Repertoire, Volume II, From Beethoven to the Present, 139–55. New York: Grossman, 1973. Reprint. Portland: Amadeus Press, 1991. ISBN 0–931340–38–1

The author discusses both violin sonatas in a mixture of criticism and advice for interpretation; the latter is much more successful than the former which is overly dependent on grandiose adjectives and superficial analysis and summarily harsh in the manner of newspaper reviews. 833.

M.I. “Le 3e concours Gabriel Fauré.” L’art musical 4, no. 126 (16 June 1939): 1005.

An account of the third Gabriel Fauré Competition in June 1939; the set piece was the First Violin Sonata. 834.

Rorick, William C. “The A major Violin Sonatas of Fauré and Franck: A Stylistic Comparison.” Music Review 42, no. 1 (February, 1981): 46–55.

A simple recounting of how each composer treats the various parameters of tempo, form, key scheme, rhythm, meter, theme, use of instruments, texture, melody, harmony, and counterpoint—all of which, in the words of the author, “produces no striking new conclusions.” Of limited use. 835.

Saint-Saëns, Camille. “Une senate.” Le journal de musique 45 (7 April 1877): 3. Reprinted in the author’s Au courant de la vie, 41–42. Paris: Dorbon-Ainé, 1914.

A short essay which, in the face of the contemporary mania for music for the stage, reaffirms the cultural importance of chamber music and finds in Fauré, the composer of this forward-looking sonata, a new champion of this genre which had been dominated by the Germans. Saint-Saëns’s description of the sonata is often quoted. 836.

Tubergen, David G. “A Stylistic Analysis of Selected Violin and Piano Sonatas of Fauré, Saint-Saëns, and Franck.” Ph.D. dissertation, New York University, 1985.

Compares Fauré’s Op. 13 with Saint-Saëns’s Op. 75 and Franck’s sonata in A using the analytical method of Jan LaRue; discusses aspects of texture, dynamics, phrase structure, harmony, and meter.170

Bibliography 837.

325

Vallas, Léon. “Fauré et Poulenc.” Nouvelle revue musicale 26, no. 1 (November 1928).

In two paragraphs within the larger section, “Les idées,” Vallas recounts how Poulenc, having heard a recording of Op. 13 by Thibaud and Cortot, revised completely his opinion of the work; Vallas draws a moral: “Le phonograph vient ainsi au secours des compositeurs, jeunes ou vieux, qui n’ont pas pris le temps d’étudier les œuvres de leurs ancêtres.” 838.

Willy [Gauthier-Villars, Henry]. “Lettre de Willy.” Le mercure musical 2, no. 11 (1 June 1906): 513–15.

In this column, the author describes a conceit which included Fauré’s recently composed quintet (Op. 89) followed by the First Violin Sonata Op. 13; the author makes the significant comment that he knows of no other composer whose thirty-year-old composition would still seem so fresh and new that it would survive programming after a recently written piece. Also included in concert were La bonne chanson Op. 61, which the composer accompanied with “une troublante rapidité,” and the Theme and Variations Op. 73. See also item 844. 839.

Wirsta, Aristide. “Un autographe inédit de Gabriel Fauré.” In Les sources en musicologie, edited by Michel Huglo, 165–67. Paris: Centre National de la Recherche Scientifique, 1981.

Wirsta’s finding of a copy of the first edition of the sonata with an autograph inscription by Fauré to Hubert Leonard was first reported in José Quitin’s article on Leonard in Die Musik in Geschichte und Gegenwart (8:633) published in 1960; the first half of this two-page article is devoted to the retelling of the story. The second page quotes, in its entirety, Saint-Saëns’s “Une sonate” (item 835). See also items 540 and 825. First Piano Quartet, Op. 15 840.

Ferguson, David M. “A Study, Analysis and Recital of the Piano Quartets of Gabriel Fauré.” Ed.D. dissertation, Columbia University 1969.

Not seen. See item 402.

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Berceuse, Op. 16 See item 772. Second Piano Quartet, Op. 45 841.

Cortot, Alfred. “Le visage innombrable de la musique: Deux chefs-d’œuvres français.” Conférencia: Journal de l’Université des Annales 32, no. 10 (1 May 1938): 582–89. The first part of the article, abridged, reprinted in Le monde musical 49, nos. 6 and 7 (July 1938): 166f.

A talk accompanying a performance of Fauré’s Second Piano Quartet and Chausson’s Concerto; after an introduction which treats the misunderstanding of French music outside of France and the founding of the Société nationale with the resulting revival of interest in chamber music, Cortot provides a brief commentary on the pieces in the character of program notes. See items 402, 840, and 849. Fantaisie, Op. 79 842.

Sobaskie, James W. “Fauré for the Flute.” Upper Midwest Flute Association: Newsletter 65 (March-April 1994): 6.

A very short piece suggesting as repertoire for the flute not only Op. 79 and the “Morceau de concours” but also transcriptions of pieces by Fauré for other instruments. First Piano Quintet, Op. 89 843.

Indy, Vincent d’. Cours de composition musicale. Paris: Durand, 1909.

Provides (2/2:205f) a brief analysis of Op. 89, concentrating on thematic development, large-scale key areas, and formal labels; finds the influence of modality in the themes of the first movement; includes (2/1:428) a biographical entry in which he describes Fauré’s style as one in which melody and harmony are inextricably linked.

Bibliography 844.

327

Lalo, Pierre. “La musique: Le ‘Quintette’ nouveau de M. Gabriel Fauré….” Le temps, 13 July 1906, 3.

A descriptive account of the piece which is not itself very useful but does include the idea—touched upon by others (see, for example, item 838)—that Fauré’s compositions resist becoming dated because his style does not so much change as become more refined; Lalo attributes this stylistic unity to Fauré’s always having been his own person as a composer, immune to the influence of the music of others (such as Franck, in the case of chamber music). 845.

Maus, Octave. “Gabriel Fauré.” L’art moderne, 25 March 1906, 91–92.

A tribute written for the end of a week during which the quintet had its premiere in Brussels. Maus praises the piece and makes some familiar observations about Fauré: that his is a unified style, quintessentially French and reminiscent of the age of Watteau; that he was not influenced by Wagner or Franck; and so forth. 846.

Servières, Georges. “Cercle artistique.” Le guide musical 52, no. 13 (1 April 1906): 254.

Written after the Brussels premiere of the piece. While reserving final judgment until a second hearing of the quintet, Servières finds the piece rather more severe than earlier works, missing the “tendre et mélancolique sourire ‘fauréen’”; suggests that the ease of thematic development found in the piano quartets is also absent. 847.

Vierne, Louis. “Salles Pleyel: Concerts Ysaye-Pugno.” Le monde musical 17, no. 9 (15 May 1906): 136–37.

A very laudatory review of the Paris premiere of the quintet by the composer and Ysaye, Deru, Denayer, and Salmon; reports an audience reaction unequalled since the first performance of the Franck quintet; emphasizes the themes and their development; comments that this piece “est de la musique, rien que de la musique, toujours de la musique.” See also item 771.

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Second Violin Sonata, Op. 108 848.

Lalo, Pierce. “La musique: … Les deux sonates de M.Gabriel Fauré.” Le temps, 13 February 1918, 3.

Lalo makes a brief but effusive mention at the end of his column of two new pieces by Fauré which had been presented in concert at the Société nationale, the Second Violin Sonata Op. 108 and the First Violoncello Sonata Op. 109. 849.

Rubinstein, Seymour Z. “A Technical Investigation and Performance of Three French Violin Sonatas of the Early Twentieth Century (1915–1927), (Debussy, Ravel and Fauré).” Ed.D. dissertation, Teachers College, Columbia University, 1976.

An examination of “problems of violin technique inherent in the interpretation” of three violin sonatas including Fauré’s Op. 108; in an appendix, also discusses Fauré’s Second Piano Quartet Op. 45; indicates where problems of technique encountered in the works analyzed may be found in other works by the same composer.171 See also items 540, 829, and 832. First Violoncello Sonata, Op. 109 850.

Beechey, Gwilym. “The Cello Sonatas of Gabriel Fauré.” Strad 88, no. 1046 (June 1977): 151–65.

Similar in approach to the author’s article on the violin sonatas (item 829). 851.

Tenroc, Charles. “Concerts divers: Société nationale de musique.” Le courrier musical 20, no. 3 (1 February 1918): 64–65.

A review of the concert in which the sonata had its premiere. Tenroc is not at all enthusiastic about the piece on first performance—he seems to find little to hold onto in the sparse style—and wants to hear it again; describes the last movement as unbalanced in favor of the piano. See also items 322 and 848.

Bibliography

329

Second Piano Quintet, Op. 115 852.

Boschot, Adolphe. “Deuxième quintette.” In Chez les musiciens (Du XVIIIe siècle à nos jours): [Première série], 170–71. Paris: Plon, 1922.

Finds the piece more tranquil than others of the same period and reminiscent of the early chamber works; characterizes the austere style as attaining “une pureté racinienne” through “une subtilité vraiment moderne…”; hears a reflection of Gounod in the Andante. See also items 36, 527, and 825. Second Violoncello Sonata, Op. 117 853.

Labussière, Annie. “Gabriel Fauré: ‘2e sonate pour violoncelle et piano op. 117’.” L’analyse musicale 25 (November 1991): 19–35.

The author examines, in point form and in diagrams, the structure of the three movements of the piece by consideration of a number of musical elements—particularly themes, their transformations, and their perceived similarities to those of other works by Fauré, Messiaen, and Ravel. The article is not without problems: the list of the characteristics of Fauré’s harmonic language includes nearly every device possible in chromatic harmony and could describe many composers (23); on the other hand, the consideration of Fauré’s use of thematic, rhythmic, and formal devices in his chamber music suffers from a lack of specific examples—whole movements from various works are cited rather than specific passages of music (23f). Labussière also postulates a tonal connection between the two sonatas for violoncello (33). A brief bibliography and a discography are included. See also items 322, 644, and 829. Piano Trio, Op. 120 854.

Imbert, Maurice. “Les concerts: Société nationale.” Le courrier musical 25, no. 11 (1 June 1923): 210–11.

A review of the premiere. Imbert is very cautious in his language, not wanting to criticize someone of Fauré’s stature, but he does not deem

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the trio a masterpiece as are, for him, La bonne chanson and the Second Quintet. 855.

Roland-Manuel [Roland Manuel Alexis Levy]. “Les concerts: Le ‘Trio’ pour piano, violon et violoncelle de Gabriel Fauré (Société nationale).” La revue musicale 4, no. 9 (1 July 1923): 250.

Extols the piece; notes that Fauré has solved the problem of integrating piano and string tone by lightening the texture of his writing for piano. 856.

Smallman, Basil. The Piano Trio. Oxford: Clarendon Press, 1990. ix, 230pp. Bibliography. ISBN 0-19-318307-2

A history of the piano trio from the Classical period through the twentieth century. The author makes reference to Fauré’s output in chamber music in the chapter, “The Nationalists,” and characterizes the composer as “one of the greatest chamber composers of the period” who influenced later composers including Ravel, Roussel, and Bridge. The brief but cogent consideration of Fauré’s Piano Trio, however, is placed in the chapter, “The Twentieth Century”; insights about the composer’s manipulation of texture are useful, remarks about his harmonic usage less so. See also items 85, 86, and 87. String Quartet, Op. 121 857.

Chantavoine, Jean. “Concerts divers: A la vieille salle du Conservatoire, première audition du ‘quatuor à cordes’ de Gabriel Fauré.” Le ménestrel, 19 June 1925, 267.

A short review which describes the work as pure, restrained, and otherworldly; suggests a comparison between Fauré and Plato. 858.

Cools, Eugene. “Le ‘Quatuor à cordes’ de Gabriel Fauré.” Le monde musical 36, nos. 11–12 (June 1925): 228–30.

Presents a thematic analysis; finds the piece Mozartean and praises the simplicity of line and effectiveness of the modulations. The author

Bibliography

331

laments how little-known Fauré’s music is but suggests that he may yet be the model for future generations of composers. Notes with astonishment that the published edition has ignored some of the very few performance instructions which Fauré indicated in the manuscript. 859.

Griffiths, Paul. The String Quartet. London: Thames and Hudson, 1983. 240pp. ISBN 0-500-27383-9

Treats Fauré in only one sentence (210) but interesting nonetheless for the assumption of the influence of Beethoven and for the stereotypical characterization, judgemental by implication, of Fauré as a composer of miniatures. 860.

Imbert, Maurice. “Le ‘quatuor à cordes’ de G.Fauré.” Le courrier musical 27, no. 13 (1 July 1925): 367.

Although he can find some small faults with the piece, Imbert describes it as “un chef-d’œuvre de simplicite”; asks indeed who better than Fauré to attempt the rarefied genre of the string quartet. Imbert asserts, curiously, that Fauré learned his harmonic syntax (“traditionnelle et neuve”) from Gustave Lefèvre who taught his theory of “accords supposés” to Fauré around 1870. 861.

Mangeot, André. “Les ‘fantaisies’ d’Henry Purcell et le quatuor de Gabriel Fauré.” Le monde musical 36, Nos. 19–20 (October 1925): 345–46.

The author demonstrates, clearly and concisely, a similarity in contrapuntal organization between a fantasia of Purcell and the opening of Fauré’s quartet and states that both composers achieved a “richesse de sonorité” through a combination of melodic inspiration and careful contrapuntal technique. 862.

Pincherle, Marc. “Formation du style classique en Europe: Le quatuor….” In Histoire de la musique. Vol. 2, Du XVIIIe siècle à nos jours, edited by Roland-Manuel, 173–76. Paris: Éditions Gallimard, 1960.

Makes a brief comparison between the contrapuntal styles of Purcell’s Fantasies in four parts and Fauré’s quartet (175). See item 861.

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863.

Samazeuilh, Gustave. “Quatour pour instruments a cordes (op. 121) de Gabriel Fauré.” La revue musicale 6, no. 9 (1 July 1925): 66–68.

A brief, extravagantly favorable account of the piece on the occasion of its premiere; elegiac in tone. Finds thematic connections with the Second Piano Quartet, Pénélope, and an earlier symphony.172 864.

Speranza, Ennio. “Il quartetto per archi de Gabriel Fauré: Una ‘modesta proposta’.” In Ottocento e oltre: Scritti in onore di Raoul Meloncelli, edited by Francesco Izzo and Johannes Streicher, 557–65. Vol. 2 of Itinerari musicali a cura dell’Associazione Culturale Costellazione Musica, Roma. Rome: Pantheon, 1993.

Rehearses briefly the genesis of the quartet; alludes to the intimidating shadow of Beethoven over this genre; describes Fauré’s harmonic and melodic style suggesting that their modal elements amount to “un ‘wagnerismo da camera’”; characterizes Fauré’s formal structures as a mixture of traditional sonata and strophic forms (citing item 794)173; presents a detailed examination of thematic development in the first two movements. 865.

Tait, Robin C. “Le ‘quatuor à cordes’ de Fauré.” Études fauréennes 20–21 (1983–84): 37–47.

Excerpt from the author’s doctoral dissertation (see item 543) dealing with the sketches and fair copy for the work174; includes a listing of the contents of the sketch fragments, a discussion of the controversy surrounding Roger-Ducasse’s editing of the published score, and a brief examination of the relationship between the sketch and fair copy versions of several problematic sections of the piece. See also item 512. Orchestral works 866.

Schmitt, Florent. “Les œuvres d’orchestre.” La revue musicale 4, no. 11 (October 1922): 50–59.

Schmitt notes that Fauré’s orchestra was not an independent instrument—it either accompanied the piano or supported action on

Bibliography

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stage; he includes in his discussion not only the “Ballade” and the “Fantaisie,” describing both in detail and providing a virtual program for the latter, but also certain of the stage works; remarks, as well, that Fauré’s use of the orchestra was sober and straightforward without odd sonorities, division of the string parts, or even much use of string mutes. Schmitt also discusses the futility of dividing Fauré’s works into the usual three manières since, as he maintains, Fauré composed in all three styles throughout his career. 867.

Vuillermoz, Émile. “La symphonie.” Chapter 4 in Cinquante ans de musique française de 1874 à 1925, edited by Ladislas Rohozinski, 1:323–88. Paris: Librairie de France, 1925.

Vuillermoz lists Fauré’s few works for orchestra but notes that in spite of a small output, the composer had an influence on the genre in his harmonic innovations which were always twenty years in advance of his time—Vuillermoz goes so far as to say that “l’impressionnisme harmonique doit tout à Gabriel Fauré” (355); emphasizes that Debussy would have found much less acceptance had Fauré not prepared the ground for him; notes that Fauré’s influence was communicated through his compositions in other genres and through his teaching. See also items 536, 537, and 908. Violin Concerto, Op. 14 868.

Anon. “Concerts et auditions musicales [review of first performance of first two movements].” Revue et gazette musicale, 18 April 1880, 124f.

The reviewer admires the second movement which he finds inventive and full of charm and passion but counsels Fauré to rewrite or abandon the opening allegro which he describes as dull and monotonous. See item 772. Berceuse, Op. 16, orchestrated version See item 772.

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Ballade, Op. 19 See items 766–775. Suite [Symphony in F], Op. 20 869.

Pougin, Arthur. “La Société Rationale de musique et le mouvement musical actuel [review of first performance of complete work].” Le ménestrel, 24 May 1874, 197–98.

Most of Pougin’s article deals with the S.N.; in his brief remarks about the piece, he criticizes the work as a whole as rather flat (“languissante”) and cold. He describes the Gavotte as agreeable and pretty but suggests it would be better placed as part of an orchestral suite than a real symphony. 870.

Schmierer, Elisabeth. “Fauré und die Symphonie.” In Gabriel Fauré: Werk und Rezeption, edited by Peter Jost, 38–52. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

Building on Nectoux’s discussion of Fauré’s attitude toward orchestration (item 537; see also item 536), the author considers Fauré’s two attempts to compose a symphony and discusses reasons for their lack of success in relation to contemporary expectations. Symphony in d, Op. 40 871.

Stoullig, Edmond, and Edouard Noel. “Concerts du Chatelet [review of first performance].” In Les annales du théâtre et de la musique, vol. 11 (1885), 546–51. Paris: G.Charpentier, 1886.

Review (550) of the first two movements is favorable but the last movement is criticized as confused and having a dull orchestration. See also item 870. Fantaisie, Op. 111 872.

Schmitt, Florent. “Les concerts: Concerts-Lamoureux.” Le courrier musical 21, no. 20 (15 December 1919): 311.

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Schmitt praises Fauré (referring to him as “le bolchevick [sic] de l’Institut”) and compares the piece favorably with Fauré’s “merveilleux” Second Piano Quartet; applauds Robert Lortat’s performance with a minor criticism about certain passages played with rubato. See also item 388. Stage Works 873.

Bernard-Krauß, Geneviève. “Die Bühnenwerke Faurés zwischen Klassizität und Impressionismus.” In Gabriel Fauré: Werk und Rezeption, edited by Peter Jost, 89–101. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

Discusses Fauré’s combining of the classic past (revealed through modal techniques and traditional forms) and impressionist present (evident in the tone colors of his harmonic language) in his music for the stage; citing Ravel, characterizes Fauré as a classicist who looked to the future. 874.

Crichton, Ronald. “Gabriel Fauré.” The New Grove Dictionary of Opera, edited by Stanley Sadie. London: Macmillan; New York: Grove’s Dictionaries of Music, 1992. ISBN 0-333-485521; 0-935859-92-6

A brief entry which is divided into a summary of Fauré’s life and compositional style and a listing of his works for the stage; a brief bibliography. See item 1016. 875.

Dumesnil, René. Histoire illustrée du théâtre lyrique. Paris: Plon, 1953.

In the chapter, “Franckisme, réalisme, neo-classicisme et impressionnisme,” Dumesnil treats Prométhée and Pénélope in two large paragraphs; praises the former for simplicity of rhythm and melody and refinement of harmony as well as for demonstrating that Fauré was capable of music of great power; marvels at Fauré’s fusion of a modern style with a feeling of antiquity in Pénélope and attributes it in part to Fauré’s use of modes.

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876.

Favre, Georges. “Gabriel Fauré et le théâtre lyrique.” L’éducation musicale 9, no. 9 (June 1954): 5, 19. Reprinted in Écrits sur la musique et l’éducation musicale, 88–92. Paris: Durand, 1966.

A brief overview of Fauré’s compositions for the stage; terms Prométhée a “fresque dramatique”; traces the stages of the composition of Pénélope with reference to Fauré’s correspondence; finds in the opera “l’esprit même du drame mozartien” and ranks it with Debussy’s Pelléas et Mélisande and Dukas’s Ariane et Barbe-Bleue. 877.

Kœchlin, Charles. “Le théâtre.” La revue musicale 4, no. 11 (October 1922): 34–49.

Kœchlin devotes the article to a defence of Prométhée and Pénélope. With a long introduction describing the setting of the premiere of Prométhée, he makes the point that this piece needs the outdoor setting for which it was composed; also indicates that the work is not simply an expansion of miniaturist-Fauré—that Fauré adapted himself to the demands of a larger work. Kœchlin defends Pénélope against the criticism that the opera is ill-suited to the stage because it contains so little action by maintaining that real drama is in the passionate interior life of the characters which the opera reveals. He believes that younger composers should take Fauré as model, in imitating not his very personal style but rather his independence as a composer. 878.

Nectoux, Jean-Michel. “Flaubert, Gallet, Fauré ou le démon du théâtre.” Bulletin du bibliophile 1 (1976): 33–47.

An account of Fauré’s search, early in his career, for a suitable opera libretto; deals principally with his attempt to persuade Louis Gallet to adapt Louis Bouilhet’s Faustine; includes correspondence between Fauré and Gallet and between Fauré and Flaubert, Bouilhet’s literary executor. 879.

——. “Fauré et le théâtre, de la musique de scène au drame lyrique.” Thèse d’état, Université de Paris IV, 1980.

Not seen. 880.

——. “Gabriel Fauré et l’esthétique de son œuvre théâtral.” Revue musicale de Suisse romande 33 (May 1980): 50–59.

Bibliography

337

Discusses how Fauré’s innate restraint and his aversion to music written for gross effect aided him in composing incidental music or the expressive parts of an opera where the role of music was to capture the essence of the dramatic situation but hindered his writing of music for less contemplative scenes in which the music was to be more representative of the action; asserts that while Fauré’s music, particularly Pénélope, may be “Hellenistic” in spirit, its parentage is less the music of ancient Greece than it is the French tradition of Lully and Gluck. 881.

Pioch, Georges. “L’œuvre dramatique de Gabriel Fauré.” Musica 77 (February 1909): 25–26.

Quotes his own review of Prométhée (item 963) which, in spite of the article’s title, is its main subject. 882.

Suckling, Norman. “The Unknown Fauré.” Monthly Musical Record 75, no. 866 (May 1945): 84–87.

Suggests that Fauré’s reputation as “a delicate craftsman with a somewhat restricted scope” is unfair and that his larger works for the stage, Prométhée and Pénélope, have not been popular because of any “defect of the constructive sense” but because Fauré disdained the musical vulgarity attractive to operatic audiences and rejected the excesses of the Wagnerian tradition. Suckling has some perceptive observations about Fauré’s orchestration (but see items 536 and 537 for more recent research) and about his influence on later composers of opera in France. 883.

——. “Fauré in the Theatre.” Listener 56, no. 1438 (18 October 1956): 633. Reprint. Essays on Music: An Anthology from ‘The Listener’, edited by Felix Aprahamian, 107–10.

A brief descriptive catalog of Fauré’s works for the stage; finds similarities between Fauré’s smaller works in this genre and those of Bizet and Messager, “an affinity…with the lyric comedy of light but sure touch”; discusses the nature and degree of the influence of Wagner’s music on Prométhée and Pénélope. 884.

Vuillermoz, Émile. “Gabriel Fauré.” In Le théâtre lyrique en France depuis les origines jusqu’à nos jours. Vol. 3, Depuis l’année 1900 à nos jours, 91–99. Paris: Radio-Paris, 1938.175

A descriptive survey of most of Fauré’s compositions for the stage.

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Caligula, Op. 52 885.

Morlot, Émile. “Odéon: Caligula.” Revue d’art dramatique, 15 November 1888, 231–32.

Citation included because listed in various check-list bibliographies, but there is here no mention of Fauré’s music. Shylock, Op. 57 886.

Boutarel, Amédée. “Revue des Grands Concerts—Concerts Lamoureux.” Le ménestrel 68, no. 51 (21 December 1902): 405.

Boutarel seems to regard Fauré as a worthy but minor composer; he does, however, commend Fauré for capturing the essence of Shakespeare’s play in his incidental music for Shylock. 887.

Eckerlin, Peter. “Der Hörer ist in der Musik: Rezeptionsästhetische Uberlegungen anhand von Faurés Shylock.” In Gabriel Fauré: Werk und Reception, edited by Peter Jost, 172–79. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

An example of the application of a theory of perception, which the author would see used to supplement traditional forms of analysis; treats the beginning of the finale of the concert version of Shylock. 888.

Fourcaud, Louis, de. [On Shylock]. Le gaulois, 17 December 1902.

Not found as cited; the article by Fourcaud in this issue reviews a work of Reynaldo Hahn. 889.

Nectoux, Jean-Michel. “Shylock. Comédie en 3 actes de Edmond Haraucourt (d’après Shakespeare), musique de Gabriel Fauré.” Association des amis de Gabriel Fauré: Bulletin 10 (1973): 19–27.

The numerous changes Fauré made in the manuscript conducting score of Shylock in order to prepare the orchestral suite drawn from the stage version render it difficult to distinguish the levels of his compositional process; using the orchestral parts for the original production of the piece at the Odéon to clarify the evidence of the score, Nectoux discusses the placement in the drama of each section of the music.

Bibliography 890.

339

Ropartz, Guy. “Semaine musicale: A la Société nationale de musique.” L’étendard, 24 May 1890.

Praises both the work and the composer; commends Fauré for his careful treatment of the French language; applauds the “Aubade” for its rhythmic originality and the variety of instrumental colors. 891.

Sarcey, Francisque. “Chronique théâtrale—A l’Odéon: Shylock….” Le temps, 23 December 1889, 1.

A review of the production which mentions Fauré’s score only in the last sentence as music “délicate et vaporeuse.” 892.

Vitu, Auguste. “Premières représentations—Odéon…: Shylock….” Le figaro, 18 December 1889, 6.

A review of the production which makes a brief, favorable mention Fauré’s score (“une partionnette”) in the last sentence. See also item 613. Pelléas et Mélisande, Op. 80 893.

Anon. “Prince of Wales’s Theatre.” Times, 22 June 1898, 12.

The reviewer calls Fauré’s score “scarcely satisfactory” as theatrical music, “the least successful feature [of the] production,” and, in “its continued absence of tangible form [and]…its actual ugliness,” a hindrance to the drama; admits that the music was, however, well received by the audience. 894.

Anon. “Drama… Prince of Wales’s—Afternoon Representation: Pelléas et Mélisande….” The Athenœum 3687 (25 June 1898): 831–32.

This favorable review of the production refers to Fauré’s score in but one sentence: “The music of M.Gabriel Fauré constituted a distinct enhancement of delight.” 895.

Anon. “Played in a Castle and a Forest for an Audience of Thirty.” The Sketch, 7 September 1910, 286–87.

Two pages of photographs of the performance of Pelléas et Mélisande staged by Georgette Leblanc at the Abbaye Saint-Wandrille (see items 900 and 901).

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896.

Anon. “Au Pavilion des Muses.” Le figaro, 30 November 1915, 3.

An announcement of the presentation on 29 November 1915 of Gustave Labruyère’s film of the 1915 revival of the Saint-Wandrille production of Pelléas et Mélisande described in items 900 and 901. 897.

The Tramp. “Pelléas and Mélisande—The Prince of Wales’s.” Weekly Dispatch, 26 June 1898, 26.

A review which condemns the play itself for the immorality of its characters; makes only a brief and ambiguous mention of the score, citing “the enervating atmosphere produced by M.Fauré’s charming music.” 898.

Beerhom, Max. “Pelléas and Mélisande and Sarah.” Saturday Review, 18 June 1898, 843–44.

A review of the London production of Maeterlinck’s play which featured Sarah Bernhardt in the role of Pelléas; does not mention Fauré’s score. 899.

Biba, Otto. “Pelléas und Mélisande: Maeterlinck—Debussy— Fauré—Schönberg—Sibelius.” Musikblätter der Wiener Philharmoniker 47, no. 9 (May 1993): 293–95.

Not located. 900.

Bourdon, Georges. “La vie hors Paris: A Saint-Wandrille—Une realisation de Pelléas et Mélisande” Le figaro, 12 August 1910, 1.

An interview with Georgette Leblanc, mistress of Maeterlinck, announcing her production of Pelléas et Mélisande on 29 August for an audience of twenty-five in the gardens of the abbey of Saint-Wandrille. Leblanc praises Fauré’s music as “adorable et précieuse.” 901.

——. “Dans le palais de Pelléas & de Mélisande.” Le figaro, 31 August 1910, 1.

An enthusiastic account of the production announced in item 900; small but favorable mention of the score.

Bibliography 902.

341

Campbell, Mrs. Patrick. [Beatrice Stella Tanner CornwallisWest]. My Life and Some Letters. New York: Benjamin Blom, 1922.

Recalls the circumstances surrounding her invitation to Fauré to compose the incidental music for Maeterlinck’s play (164–65)176; also recounts asking Fauré for music of The Moon of Yamato and quotes from the letter giving his refusal (289).177 903.

Hahn, Reynaldo. “Chronique musicale—A l’Odéon.” Le figaro, 9 & 16 February 1939, 5 (of each issue).

Articles written on the occasion of a performance of Pelléas et Mélisande; describes the style of the piece as “du troisième Fauré, mais à son début.” Hahn cites an unknown, non-autograph manuscript which includes not only the principal parts of the work but also repetitions of certain sections and a part of the Fantaisie for flute and piano Op. 79. 904.

——. “Chronique musicale—Encore Pelléas et Mélisande….” Le figaro, 23 February 1939, 5.

Corrects errors in the articles of 9 and 16 February (item 903). 905.

——. “Sur Fauré.” In Thèmes variés, 135–48. 5th ed. Paris: J. B.Janin, 1946.

A rambling memoir including a number of vignettes and two letters by Fauré to the author; however, most of the article is a reprint of items 903 and 904; concludes with Kœchlin’s response to his articles questioning the authenticity of the manuscript cited by Hahn and asserting that only the principal sections of the piece could be by Fauré. Hahn admits that the manuscript is by a copyist and that certain additions to the music were made by André Cadou for the 1939 production (pieces from Shylock and a piece by Cadou himself) but observes that the repeated sections of Fauré’s Pelléas are reworked with a care which suggests that these little snippets are indeed by Fauré; concludes that they were requested for the performance of 1918 at the Odéon by the theater’s director, Paul Gavault. As indicated above, the manuscript remains unknown. 906.

Hermans, G. “Les cinq chansons de Mélisande.” Le livre et l’estampe, nos. 57–58 (1969): 6–8.178

A discussion of various song texts which appeared in productions of Maeterlinck’s play as “Mélisande’s Song” and of their settings by various

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composers. The author wonders how the same music could have served Fauré to set this text as well as that of “Crépuscule” of La chanson d’Eve; cites Jankélévitch’s explanation that Mélisande et Eve represent “une même féminité” (see item 430:184). Hermans also asserts that Fauré’s “Mélisande’s Song” was not sung on stage in 1898 and was orchestrated by Kœchlin only in 1937; suggests, as well, that Maeterlinck introduced Fauré and Van Lerberghe in London in July 1898. 907.

Jeandet, Yette.179 “Pelléas quarante ans après.” Les nouvelles littéraires, 4 February 1939, 10.

An interview with the poet, Paul Fort, on the occasion of a revival of Pelléas et Mélisande; Fort reminisces about earlier performances— there are only fleeting references to Fauré’s score. 908.

Kelkel, Manfred. “Original und Bearbeitung: Betrachtungen über Gabriel Faurés Orchesterwerke.” In Gabriel Fauré: Werk und Reception, edited by Peter lost, 53–57. Kassel: Bärenreiter, 1996. ISBN 3-7618-1271-X

Reexamines the relationship between the various versions of Pelléas et Mélisande orchestrated by Kœchlin and reworked by Fauré; tests the assertions of other authors, particularly Nectoux (item 96), regarding the extent of Kœchlin’s independence in the preparation of the 1898 London version. 909.

Kœchlin, Charles. “Chronique musicale—Concerts Lamoureux…: Sicilienne, de M.Gabriel Fauré, extraite de… Pelléas et Mélisande….” La chronique des arts et de la curiosité,180 22 January 1910, 28.

In this concert review, Kœchlin takes the opportunity to observe that “l’orchestre n’est pas absolument nécessaire aux compositions de M.Fauré”—that is, what is essential in Fauré’s music is communicated by other aspects of it. This view of Fauré as a composer of “pure music” is revived by Kœchlin in his discussion of Pénélope (item 1042). 910.

Maillard, Jean. “Gabriel Fauré (1845–1924): Pelléas & Mélisande, suite d’orchestre Op. 80 (1898).” L’éducation musicale 35, no. 248 (May 1978): 307–16.

An article in sections including: a biographical sketch of Fauré (not without error); a list of Fauré’s compositions by genre together with a

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paragraph characterization of his style; short passages on music for the stage, on Maeterlinck, and on the history of Fauré’s setting; a plot synopsis; a measure-by-measure description of the movements of the suite; and a bibliography and discography. 911.

Schneider, Marcel. “Symbolist Music.” In The Symbolist Movement in the Literature of European Languages, edited by Anna Balakian, 471–81. Vol. 2 of A Comparative History of Literatures in European Languages Sponsored by the International Comparative Literature Association. Budapest: Akadémiai Kiadó, 1984. ISBN 963-05-3895-4

The author remarks that the molto adagio ending of Fauré’s suite accurately reflects Maeterlinck’s vision of Mélisande; also makes the odd assertion that “along with Gabriel Fauré [Chausson] represents in Symbolist music the connecting link between Franck and Debussy” (475). 912.

Sievers, Gerd. “Pelleas und Mélisande: Sibelius, Debussy, Schönberg, Fauré.” Musica (Kassel) 15, no. 4 (April 1961): 171–74.

Marvels that four composers so different could be attracted by the same poem; gives capsule characterizations of the style of each composer and of his treatment of the text; describes Fauré’s music as classical in its use of theme and form, but romantic in its harmonic language. Compare the more detailed discussion by Tammaro (item 913). 913.

Tammaro, Ferruccio. “Mélisande dai quattro volti.” Nuova rivista musicale italiana 15, no. 1 (January-March 1981): 95–119.

Discusses in detail the different approaches to the text by Debussy, Fauré, Sibelius, and Schoenberg; compares one piece to another and treats, as well, the relationship between each setting and the rest of its composer’s output; suggests that Wagner’s music for the funeral of Siegfried was an influence which neither Fauré nor Kœchlin could completely escape. 914.

Udine, Jean d’/[Albert Clozanet]. “Théâtre national de l’Odéon: Pelléas et Mélisande…musique de scène de Gabriel M. [sic] Fauré.” Le courrier musical, 15 March 1918, 125–28.

The author deems Fauré’s score beautiful (in contrast to Debussy’s treatment of the play which he does not like) but feels that while the

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music evokes the medieval, it communicates nothing of the underlying sentiment, “la vie latente,” of the play. 915.

Vinteuil, Roger. “La semaine dramatique—Théâtre de l’Odéon: Pelléas et Mélisande… Partition de Gabriel Fauré.” Le ménestrel 101, no. 6 (10 February 1939): 34–35.

While Vinteuil finds Fauré’s score “émouvante et admirable,” he does not feel the play can escape the association with Debussy’s opera—as a result, the spoken parts of the drama seem empty. 916.

Vuillermoz, Émile. “La musique: le Pelléas de Fauré.” Candide 774 (11 January 1939): 15.

A review of a revival of the play with Fauré’s incidental music. Vuillermoz observes that listeners who know the music only from concert performances will learn from this staging of the work just how carefully and sensitively Fauré wrote the score to enhance the drama. See also items 75, 76, 1040. Prométhée, Op. 82 917.

L’hérault, Joseph Fabre, ed., special issues on Prométhée, August 1900 and August 1901.

Not located. 918.

Le titan (Béziers), special issue on Prométhée, 25 August 1901.

Includes articles by Ernest Gaubert, Henry Rigal, Marius Labarre, Pierre Hortala, Marc Varenne, Jean Poueigh, and Jean Lorrain. Not located. 919.

Anon. “Le compositeur de Prométhée à Montpellier.” Le petit méridional 21 March 1900, 3.

An announcement of a visit by Fauré to make arrangements for the premiere. 920.

Anon. “[Prométhée].” Le ménestrel, 20 June 1901.

An announcement of arrangements in progress for the 1901 performance of the work.

Bibliography 921.

345

Anon.181 “Fauré succède à Saint-Saëns.” In L’opéra dans l’arène ou l’aventure de Fernand Castelbon mécène à Béziers. [Béziers?]: Phonothèque, Service du patrimoine, Office départemental d’action culturelle, Conseil général de l’Hérault, 1989.

A account of the work: genesis, libretto, and first performance; the score itself is described as a unified musical construction reflecting the psychology of the characters rather than simply setting the libretto; deems Prométhée the high point of the series of works presented in the arena at Béziers. 922.

Amiel, André. “Prométhée, la première aux arènes de Béziers.” Revue éolienne 17 (September 1900): 440–48.

Reviews favorably various aspects of the production; describes the score in detail; speaks of the charm of Fauré’s harmonic invention and use of modes; ends by wondering if the piece will appeal to the masses. 923.

Aprahamian, Felix. “Rare Fauré.” Opera, Autumn 1970, 85–86.

A review of the 1970 revival of Prométhée at the Lyons Festival; the production is praised as is the “clarity of texture” of Fauré’s score. 924.

Bellingardi, Luigi. “Italy: Fringe Benefits, Perugia [Prométhée].” Opera 37, no. 1 (January 1986): 86.

A brief announcement and review of a performance of Prométhée in Perugia in 1985. Bellingardi finds in the piece influences of a number of Fauré’s predecessors from Berlioz to Massenet; characterizes the “opera” as non-Italian, impressionistic, and bearing witness to “Fauré’s refined creative sensibility.” 925.

Brussel, Robert. “Prométhée à Paris.” Le figaro, 4 December 1907, 5.

Having attended a rehearsal, Brussel wrote this announcement of the Paris performances to take place in the Hippodrome (Place Clichy), the Trocadéro having been rejected because it was impossible to heat.

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926.

——. “La represéntation de Prométhée” Le figaro, 6 December 1907, 4.

A favorable review of the first Paris performance; indicates that the piece is not simply incidental music for a play but rather music which enters into the drama and is a commentary upon the dramatic events. 927.

Carraud, Gaston. “Prométhée” La liberté, 7 December 1907, 3.

Calls the work the most important composition by Fauré to date although does not favor the mixture of sung and spoken text; did not care for the Hippodrome as concert hall and would have preferred a smaller orchestra (with the same orchestration) in the Opéra or the Théâtre du Châtelet; mentions several sections of the piece, noting more than once Fauré’s expressive and fluid harmonic language; considers that the music’s majesty, grace, and serenity evoke the image of ancient statuary under a bright, blue sky. 928.

Castelbon de Beauxhostes, Fernand, and Camille Saint-Saëns. “Les Arènes de Béziers.” Musica 121 (October 1912): 194–95.

Castelbon de Beauxhostes laments that the arena which has seen so much musical activity (including, of course, the first performance of Prométhée), has been ordered destroyed by the city. Saint-Saëns argues that the city should realize that it was arena which has put the Béziers on the map and that a simple lack of funds should not dictate its disappearance. 929.

Cooper, Martin. “Byways of French Opera: V.—The Operas of Gabriel Fauré.” Monthly Musical Record 77, no. 884 (February 1947): 32–36.

An assessment of Prométhée and Pénélope; with the former, locates the best music of the piece in the choruses but understands why the opera has not succeeded outside its original outdoor venue: there is not enough “strikingly individual music” to overcome the faulty libretto. Cooper views Pénélope as the product of Fauré’s having “digested” the influences of both Debussy and Wagner; further, blames the opera’s lack of success on the character of the music which, while “beautiful and genuinely dramatic,” is rather too intimate for the stage and not engaging of the ordinary listener on first hearing.

Bibliography 930.

347

Curzon, Henri de. “La semaine—Paris: Le Prométhée de M.G. Fauré” Le guide musical 53, no. 50 (15 December 1907): 779–80.

A favorable review of the second Paris performance, at the Opéra. 931.

Dandelot, Arthur. “Prométhée à Béziers.” Le monde musical 17 (15 September 1900): 266.

A laudatory review; less commentary than a leading of the reader through the score; deals only with the music since the libretto was criticized in an earlier article in the same periodical.182 932.

Dauphin, Léopold. “Gabriel Fauré et le Prométhée” La vogue, 15 October 1900, 59–65.

The author of this critique of Prométhée believes that with this work Fauré has taken his rightful place continuing the tradition of César Franck; Dauphin has some adverse criticism of the piece—he dislikes the speaking parts and finds weaknesses in the libretto—but he lavishly praises the score, leading the reader through it in some detail. 933.

Debay, Vincent. “Prométhée: Tragédie lyrique en 3 actes de MM.Jean Lorrain et P.Hérold, musique de M.Gabriel Fauré.” Courrier musicale, 15 December 1907, 678–80.

Debay responds to the Paris performances of 1907 in the original orchestration; finds the libretto an acceptable amalgam of ancient and modern drama but deplores the absolute division of roles into speaking and singing parts; believes that while the grand scale of the orchestration may have been appropriate to Béziers, it is too much for Paris—that Prométhée is the type of work which should not be removed from its original setting; pleads for the Fauré he knows, the composer of music in smaller, intimate genres. 934.

Desbruères, Michel. “Le Prométhée de Jean Lorrain et AndréFerdinand Hérold.” Études fauréennes 20–21 (1983– 1984): 7–17.

A careful and detailed discussion of the nature of the collaboration between the two authors of the libretto based on documentary evidence and analysis of the text.

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935.

Dukas, Paul. “Prométhée de G.Fauré….” In Les écrits de Paul Dukas sur la musique, 505–10. Paris: Société d’éditions françaises et internationales, 1948.183

The author limits his conclusions about the work as he is reviewing it not from a performance but from a piano-vocal score supplied by the publisher; suggests that Prométhée might be termed a staged oratorio; is struck by the refined harmonies and by the simplicity of melody and of rhythm (demanded, perhaps, by the acoustics of an amphitheater); maintains that the piece proves Fauré can write for the theater and that he can compose powerful as well as tender, charming music (see also item 1023). 936.

Garnier, Paul-Louis. “Théâtre: Prométhée à Béziers.” Le revue blanche, 15 September 1900, 141–143.

An account of the first performance which praises the music while expressing surprise that Fauré, the miniaturist, could compose such a work; applauds the soloists but criticizes sharply the inferior performance of the instrumentalists and chorus. 937.

Gauthier, Edouard. “Fêtes de Béziers: Prométhée.” La rampe 6, no. 27 (16 September 1900).

Recounts the plot of Prométhée and reports the event of the concert; nothing about the music. 938.

Gauthier-Villars, Henri [Willi]. Prométhée, album officiel Béziers: [n. p.], 1900. Preface by Fernand Castelbon de Beauxhostes.

A booklet containing short articles (two pages by Jean Lorrain on Béziers, for example), poetry, photographs (of composers, performers, and local dignitaries), and a plot synopsis (with part of the libretto). 939.

——. “Revue musicale.” Revue encydopédique Larousse 10, no. 376 (17 November 1900): 944–49.

Asserts that Fauré has solved the problem of translating his delicate and subtle style to music intended for open-air performance by the virtue of simplicity: rhythms are definite, melodies make use of repeated notes, modulations are emphasized; would like to see appropriate parts of the score included on concert programs.

Bibliography 940.

349

Ginot-Gachet, Jacqueline. “Les représentations lyriques aux Arènes de Béziers de 1898 à 1911.” Thèse de doctorat, Université de Paris IV, 1976.

Not seen. 941.

I[zern], P[ierre]. “Aux Arènes de Béziers—La première de «Prométhée».” Le figaro, 28 August 1900.

A generally favorable review of the performance itself; however, believes that this “musique savante” does not succeed in an openair theater. 942.

Jullien, Adolphe. “Revue musicale—A l’Opéra: Prométhée de M.Fauré….” Le journal des débats, 26 May 1917, 3.

A brief review of the 1917 performance of Prométhée, reorchestrated for symphony orchestra; the author approves of this change as he feels that Fauré is not really one for the clamor of the original instrumentation—indeed, suggests that the real Fauré surfaces only in the more delicate sections of the score; comments that the piece is not really an opera as parts of the dialogue are spoken. 943.

Kœchlin, Charles. “Musique—Représentations de Béziers: Prométhée, de M.Gabriel Fauré….” Le mercure de France 143 (November 1901): 550–54.

An enthusiastic assessment of Prométhée which mentions details of Fauré’s adaptation of his style to a large-scale work destined for openair performance. Kœchlin indicates particularly an uncomplicated harmonic vocabulary and a slower harmonic rhythm than is usual with Fauré but notes also Fauré’s typical ease with modulation, his “symphonic development” of themes, and his careful treatment of text. 944 ——“Prométhée de Gabriel (AugustSeptember 1945): 3–7.

Fauré.”

Eaux

vives

1

Not located. 945.

Lalo, Pierre. “La musique—A Béziers: Prométhée….” Le temps, 5 October 1900, 3.184

Lalo praises the score whose lyricism complements the lyric quality of the libretto; notes that Fauré has succeeded in this large form without

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abandoning the essential character of his style and offers two examples from the score as proof; unlike other critics, is not troubled by the mixture of spoken and sung dialogue but does admit that the sense of artistic unity may have depended somewhat on the venue and may not translate to a concert hall. 946.

——. “La musique—A l’Hippodrome: Première représentation à Paris de Prométhée….” Le temps, 10 December 1907, 2.

Lalo praises Prométhée in the same terms and with the same examples as in his review of the premiere (item 945); however, his prediction that an indoor performance would not be so successful has been justified, and he criticizes particularly the libretto whose mediocrity is no longer disguised by the distractions of an open-air venue; notes, as well, that the performance suffered from too few rehearsals. 947.

——. “La musique—A l’Académie nationale de musique: Prométhée….” Le temps, 11 June 1917, 3.185

The largest part of this review (of the version for symphonic orchestra) is taken verbatim from item 946. Lalo is here even more critical of the libretto; further, he is now disturbed by the mixture of speech and singing (see item 945) and is particularly annoyed by the affected declamation of the spoken dialogue first mentioned in item 946. 948.

Laloy, Louis. “Critique musicale—A l’Opéra: Prométhée….” Le pays, 2 June 1917, 2.

Laloy begins with a discussion of theater during the war before turning to Prométhée; finds the introduction of Pandora into the plot illprepared and not developed but excuses this addition because it permits the music of Pandora’s funeral cortege; describes the score with poetic eloquence, praising particularly the modernity of its harmonic language and its orchestration. 949.

Lannoy, A.-P., and L. d’Juin. “Aux Arènes be Béziers.” L’art du théâtre 10 (1901): 216–18.

This account of the initial performance devotes only two sentences to the score which the author finds lacking in “des contrastes nécessaires aux effets du théâtre.”

Bibliography 950.

351

Lara, René. “Notre page musicale.” Le figaro, 25 August 1900, 3.

An announcement of the first performance; the issue includes (6) the score of Gaia’s aria from the first act. 951.

——. “La vie de Paris—Prométhée à l’Opéra.” Le figaro, 13 December 1907, 2.

A promotional announcement of the second Paris performance to be held at the Opéra. 952.

Larroumet, Gustave. “Chronique théâtrale—Aux Arènes de Béziers: Prométhée, tragédie lyrique en trois actes,…musique de M.Gabriel Fauré….” Le temps, 3 September 1900, l–2.

The author describes the storm which forced the postponement of the first performance; he could not be present for the performance on the following day and, in any case, admits having insufficient musical expertise to offer an opinion on the score—as a result, his commentary deals entirely with the libretto. 953.

Lorrain, Jean. Poussières de Paris. 2d ed. Paris: Paul Ollendorf, 1902. 383pp.

An brief account of the events surrounding the first performance of Prométhée (346–52). 954.

Maizeroy, René. “Fêtes de Béziers: Prométhée….” Le théâtre 43 (October 1900): 10–14.

An enthusiastic description of the set and the action of the piece; equal enthusiasm in the two sentences devoted to the score by the “Schumann français”; a number of photographs. 955.

Malherbe, Charles. “La musique dramatique.” In Rapport sur la musique française, edited by Paul-Marie Masson. Rome: Armani & Stein, 1913.

Includes a brief mention of Prométhée. 956.

Mangeot, A. “A Béziers.” Le monde musical, 15 September 1901, 262–65.

Mangeot deems Fauré’s score an eloquent and discreet commentary on the tragedy; notes that Fauré finds musical power not in “violents

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effets d’orchestre” but rather in “l’accent et…l’expression mélodique”; comments on the staging which he likes and the libretto which he does not. 957.

——. “Prométhée et le Roi David.” Le monde musical, 8 May 1924, 170.

A simple report of a concert which included excerpts of Prométhée— not a review. 958.

Marnold, Jean. “Musique—Opéra National: Prométhée….” Le mercure de France, 16 July 1917, 336–40.

This review begins with a long dissertation on the great psychological differences between the culture of the ancients and that of the postbarbarian West; concludes that Fauré’s “pure music” is the best choice to evoke the themes of this culture with which modern men have trouble identifying; approves of the production but does not care for the mixture of speech and sung dialog, especially given the bad declamation of the actors and, by implication, the libretto. 959.

Mendès, Catulle. “A l’Hippodrome—Au bénéfice des inondés de l’Hérault: Prométhée….” Le journal, 6 December 1907, 2.

A review which lauds the production and the participants reserving his highest praises for Fauré whose musical inspiration “a su… s’égaler au génie eschylien.” 960.

Nectoux, Jean-Michel, ed. “Charles Kœchlin et Henri Büsser témoins de Prométhée de Fauré aux arènes de Béziers.” Association des amis de Gabriel Fauré: Bulletin 16 (1979): 7–19.

Kœchlin was unable to attend the first performance of Prométhée and asked Büsser to send him his impressions; that letter together with the journal Kœchlin kept when he attended the next year’s performance of the work are presented in the article. Büsser was impressed but felt that the music was not suited to an open-air performance—that too many details of the score were lost. Kœchlin is more enthusiastic about the piece in which he finds traces of Saint-Saëns and Bach; hopes Fauré will provide a concert orchestration of it. Also interesting are Kœchlin’s reporting of Saint-Saëns’s opinion of Prométhée and of Fauré’s opinion of Gustave Samazeuilh.

Bibliography 961.

353

Nello, [?]. “Les fêtes de Béziers.” Le figaro, 24 August 1900.

A short, human-interest story (with byline of 21 August) about the principals in the spectacle. A simple listing of the program and performers appeared in Le figaro the next day. 962.

Nussy Saint-Saëns, Marcel. “La fondation du Théâtre des Arènes de Béziers: La première de Déjanire le 28 août 1898.” Études sur Pézenas et l’Hérault 11, no. 2 (1980): 3–22.

A history written by the great-nephew of Saint-Saëns of the amphitheater at Béziers, the productions sponsored by Fernand Castelbon de Beauxhostes (including Prométhée), the involvement of Saint-Saëns in the project, and the first performance of Déjanire. 963.

Pioch, Georges. “Gabriel Fauré et Prométhée.” Musica 16, no. 65 (February 1908): 24–25.

Partly a discussion of the piece and partly a review of the Paris performances of December, 1907. Pioch has high praise for the score, particularly the music for Pandora’s funeral scene; like a number of other critics, dislikes the mixture of sung and spoken dialog; curiously, refers to Fauré as the Anatole France of music. 964.

Poueigh, Jean. “Prométhée à l’Opéra.” La rampe, 24 May 1917.

Not located. 965.

Saint-Jean, J. [Joseph de Marliave]. “Revue musicale—Hippodrome et Académie Nationale de Musique: Prométhée….” La nouvelle revue, 1 January 1908, 140–41.

Remembering the artistic success of the work at its first, openair performances, Marliave states that what survives the change of venue is the music which he praises; suggests that those who believe that the force and power in this piece reveal a new Fauré are mistaken—that these qualities have always existed even in the restrained style of his smaller compositions. 966.

Servières, Georges. “Les Spectacles—Thèâtres: Prométhée de Gabriel Fauré aux Arènes de Cimiez.” Le temps, 16 August 1939, 5.

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Part a generally favorable review of this revival performance; part a reminiscence of the premiere; and part a description of the work the last two acts of which the author appreciates the most. 967.

Souday, Paul. “Les premières—Hippodrome: Prométhée.” L’éclair, 6 December 1907, 2.

The author has the same complaints about the acoustics of the Hippodrome as other reviewers, but praises Fauré’s music; indeed, finds the scope of the piece a bit surprising given Fauré’s identification with more intimate genres; wishes that the whole libretto had been set to music; applauds other aspects of the production—the actors, the singers, and the set. 968.

Tiersot, Julien. “Prométhée….” Le ménestrel, 7 December 1907.186

A review written between the two Paris performances in the Hippodrome and the Opéra; describes the style of the piece as a mixture of simplicity in the polyphonic writing and complexity in the harmonic and tonal development. 969.

Veran, Jules. “Gabriel Fauré et de Max: Prométhée aux arènes de Béziers.” Comœdia, 11 November 1924, 1.

An amusing reminiscence of the premiere of the work at Béziers and of the storm which delayed it by a day, but no discussion of the work itself. 970.

Vuillermoz, Émile. “Opéra: Prométhée.” Le théâtre et la musique 2, no. 5 (May 1917): 3–4.

Vuillermoz objects obliquely to the mixture of speech and singing in the work: he suggests that in an outdoor performance of the work, the natural surroundings provide a continuity in the dramatic presentation, but that in a concert hall it is music itself which is the connective force whose interruption for spoken dialog robs the work of dramatic force. He also makes a curious comment about the wartime posturing of former Wagnerites who, unlike the quintessentially French Fauré, need to prove their patriotism. See also items 460 and 877. Concerning the orchestration of Prométhée, see item 766:5.

Bibliography

355

Masques et bergamasques, Op. 112 971.

Bastia, Jean. “Masques et bergamasques… La matinée.” Comœdia, 5 March 1920, 1f.

A dissenting voice (see items 976 and 978) which finds Fauré’s music for this stage piece lugubrious. 972.

Bidou, Henry. “La Musique: Masques et bergamasques….” L’opinion, 13 March 1920, 297–98.

This little article includes a few comments about the stage setting and text of the theatrical version of this piece but deals principally with a measure by measure description of the score of the first movement. 973.

Blin, R. “Masques et bergamasques.” L’éducation musicale 9, no. 9 (June 1954): 11, 16.

A lesson plan for a classroom presentation of the piece. 974.

Boschot, Adolphe. “Masques et bergamasques.” In Chez les musiciens (Du XVIIIe siècle à nos jours): [Première série], 167–70. Paris: Plon, 1922.

A description of the stage piece and a brief mention of the music (“le charme fauréen”) with references to Schumann and Rameau. 975.

Brancour, René. “La semaine musicale: Opéra-Comique— Masques et Bergamasques….” Le ménestrel 82, no. 11 (12 March 1920): 106.

A brief review of the piece at the time of its performance at the OpéraComique; praises the entire production; suggests that Fauré’s music makes the text superfluous; asserts that the orchestra speaks with “human voices” in a way not heard since Mozart. 976.

Charpentier, Raymond. “Masques et bergamasques… L’interprétation.” Comœdia, 5 March 1920, 1.

A favorable review of the performers and designers who have managed to transfer this delicate and intimate music to the stage. (See also items 971 and 978.)

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977.

Hughes, Gervase. Sidelights on a Century of Music, 1825–1924. London: Macdonald, 1969. ISBN 356-02853-4

The chapter, “Fauré’s Masques et Bergamasques” (45–50), combines a description of the circumstances of composition of the piece with a rather lightweight discussion of some of the music. 978.

Laloy, Louis. “Masques et bergamasques… musique de M. Gabriel Fauré.” Comœdia, 5 March 1920, 1.

A review of the Paris performance at the Opéra-Comique which characterizes the music as charming, imbued with the past but nonetheless youthful and innocent. (See also items 971 and 976.) See also items 388 and 1015. La passion, WwO 979.

Dardenne, Roger. “Du Cirque d’Hiver à la Comédie-Française: Histoire d’une pièce.” Le figaro, 18 June 1927, 1 (literary supplement).

An interview with Edmond Haraucourt and the history of his theater piece, Mystères de la Passion; mentions Fauré as improvising at the organ for the second year’s performance but not the score which he began for the work but did not finish in time for the premiere.187 980.

Haraucourt, Edmond. “Comment fut rétabli en France le droit de répresenter la Passion.” Le journal, 3 April 1930, 1.

No information beyond that contained in Haraucourt’s earlier interview with Roger Dardenne (see item 979). 981.

Kahan, Sylvia. “Fauré’s Prelude to La Passion (1890): A Reexamination of a Forgotten Score.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998.

A reconstructive study of the manuscript sources of the work which examines the relationships between text and music and between this piece and Fauré’s other sacred music.188

Bibliography 982.

357

G.P.[Gaston Paulin?] “Chronique Parisienne.” Le guide musical 36, no. 14 (6 April 1890): 107.

A brief rehearsal of the difficulties Haraucourt suffered to have his Mystères de la Passion performed; notes that the music Fauré was to have composed was not completed by the performance date. Pénélope, WwO 983.

Anon. “[Review].” Éventail, 9 March 1913.

A very positive, short review which terms the work “une partition aux vastes lignes très pures, qui sont sévères….” 984.

Anon. “Pénélope: M.Gabriel Fauré’s Music.” Daily Mail, 11 May 1913.

Calls the opera a “lyrical poem” appropriate to the stage; praises particularly the phrasing and orchestration; finds Fauré to be “essentially French and essentially modern.” 985.

Anon. “Pénélope aux Champs-Ely sees.” New York Herald, 11 May 1913. In French.

Terms the work “le plus parfait de M.Gabriel Fauré”; cites other critics—Schneider, Quittard, Bruneau, and Chantavoine. 986.

Anon. “[Review].” Excelsior, 13 May 1913.

Two paragraphs which deal mostly with public reception of the opera at the répétition générale; style of the review reads like that of Willy [Henri Gauthier-Villars]. 987.

Anon. Untitled. Le cri de Paris, 8 March 1914.

A short gossipy piece about Fauré’s having to hide in Gheusi’s “baignoire” to avoid seeing Lucienne Bréval after promising the title role of Pénélope in its production at the Opéra-Comique to Claire Croiza; if true, the article must refer to the production which was under discussion when the First World War broke out and abandoned. 988.

A.C. [?]. “Opéra flamand: Pénélope.” Le courrier d’Anvers, 21 March 1924.

Not located.

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989.

Abram, Paul. “Le Théâtre des Champs-Élysées: Pénélope….” La petite république, 11 May 1913.

Calls the opera an authentic masterpiece, “une œuvre qui honore… l’école française.” 990.

Aderer, Adolphe. “Les premières théâtrales—Champs-Élysées; Pénélope….” Petit parisien, 11 May 1913.

Cites the review by Fauré’s nephew in the same paper (item 1025); asserts that two words characterize the opera: pure and noble— emphasizes, however, that the music is never severe or cold. 991.

Astruc, Gabriel. Le pavilion des fantômes. Paris: Bernard Grasset, 1929. xii, 345pp.

The memoirs of the founder of the Théâtre des Champs Élysées; reminisces about the attitude of French audiences to Pénélope (240f) and about the theater’s failure just months after the Paris premiere of Pénélope (287–89); also remembers Fauré’s playing at the salons of his cousin, Felix Levy (219). 992.

Auric, Georges. “La musique.” Les nouvelles littéraires, 10 January 1925, 7.

A review of a revival of Pénélope at the Opéra-Comique which expresses admiration for Fauré’s score but finds the opera very much weakened by the libretto the faults of which are underlined by the production; praises Claire Croiza in the title role. 993.

Avenaz, Claude. “La vie intellectuelle et artistique—Chronique musicale: La Pénélope de M.Gabriel Fauré.” Bulletin de la semaine politique, sociale et religieuse 10, no. 20 (14 May 1913): 238–39.

Begins by saying that Fauré has well answered those doubters who believed him incapable of a large work; considers Pénélope a masterpiece in which Fauré has used “les anciennes formules de composition,” renewing and revitalizing them; mentions Fauré’s ease with modulation, his capacity for modifying his style to the situation— here a pure, measured, and sober music to portray a classic story—and his ability to portray violence at the end of the opera without resorting to opera verismo.

Bibliography 994.

359

Bellaigue, Camille. “Revue musicale—Théâtre des ChampsElysées: Pénélope….” Revue des deux mondes 16 (1 July 1913): 217–24. Reprinted in the author’s collection, Notes brèves, deuxième série. Paris: Delagrave, 1914, 259–270.

Bellaigue praises Fauré’s treatment of text in this work which he terms “un poème élégiaque.” He commends Fauré’s tasteful restraint (267): “Les pages exquises de son œuvre sont faites de peu de notes, mais élues”; and finds examples of this reserve in the orchestration and in the setting of particular scenes. Places Pénélope in a category of “operas libérateurs.” 995.

——. “Revue musicale—Théâtre de l’Opéra-Comique: Pénélope….” Revue des deux mondes, 15 February 1919, 921–29.

Again praises Fauré’s restraint, his setting of text which goes beyond mere technical proficiency, and the subtlety of his harmonic language; mentions again (item 994) the notion of Pénélope as “opéra libérateur” and this time gives other examples of the type: Fidelio, Freischütz, and William Tell. 996.

——. “Revue musicale—… Théâtre de 1’Opéra-Comique: reprise de Pénélope….” Revue des deux mondes, 15 May 1923, 455–57.

Much like earlier articles (even using some of the same phrases), emphasizing how Fauré can so perfectly recreate the libretto in music with a real economy of means. 997.

——. “Pénélope!” Revue universelle 35, no. 18 (15 December 1928): 699–707.

Repeats the theme of subtlety and restraint in Fauré’s writing (see item 994). Discusses Fauré’s technique of modulation to distant keys which nonetheless leaves the tonal center undisturbed; gives other examples of the “opéra libérateur”: Don Giovanni and Falstaff; as in item 369, mentions Fauré’s fascination with texts which have the sea as a theme. 998.

Blavinhac, Albert. “Théâtre de Monte-Carlo: Pénélope….” Echo de Paris, 5 March 1913.

Calls Pénélope a work of pure beauty and rigorous classicism; curiously, asserts that Fauré did not have to construct “un travail

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thématique” to lead the spectator through the work since the libretto was so formed to fulfill this function. 999.

——. “Les théâtres—Théâtre des Champs-Élysées: Première représentation, à Paris, de Pénélope….” La république française, 11 May 1913.

Rehearses facts of the Monte-Carlo premiere and mentions that neither the Opéra nor the Opéra-Comique would present Pénélope; citing his review of the score two months before (above), confines himself in this review to the new production. 1000. Blois, Pierre. “La musique—Théâtre des Champs-Élysees: Première représentation de Pénélope.” L’autorité, 11 May 1913. Calls the opera “une œuvre splendide,…une forme toute nouvelle…de sonorités étranges et belles.” 1001. Boisvillette, [?]. “A l’Opéra-Comique: Le programme annuel ne parle point de Pénélope.” Comœdia, 5 October 1912. Refers to one aspect of the dispute over the venue for the Paris premiere of Pénélope. 1002. Boschot, Adolphe. “La musique: Pénélope de M.Gabriel Fauré.” Echo de Paris, 10 May 1913. A review of the répétition générale which calls the opera a triumph and characterizes the score as noble, classic, and Attic. 1003. ——. “Pénélope.” Echo de Paris, 11 May 1913. Reprinted in Chez les musiciens (Du XVIIIe siècle à nos jours): [Première série], 159–67. Paris: Plon, 1922. The author faults the libretto for changes to the Homeric original which he feels hindered the composer; lauds the music for its power and authority comparing the opera to Don Giovanni and Fauré, in the restraint of his style, to Racine. 1004. Boulanger, Nadia. “Opéra de Monte-Carlo: Pénélope….” Le ménestrel 79, no. 11 (15 March 1913): 82–83. A wildly enthusiastic review of the music and the performance; says that Fauré has silenced those who wondered if he was up to the task of creating such a large work.

Bibliography

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1005. Boyer, Georges. “Premières représentations: Théâtre des Champs-Elysées—Pénélope….” Petit journal, 11 May 1913. Calls the opera pure, of noble simplicity, and “une victoire pour l’art français.” 1006. Bruneau, Alfred. “Au Théâtre des Champs-Elysées, l’altière et pure beauté de Pénélope provoque un immense enthousiasme.” Le matin, 10 May 1913, 5. A favorable review of the first Paris performance which deems the opera a masterpiece, the “most perfect” work by Fauré, the result of a stylistic evolution throughout which he has managed to retain his originality; describes the style of the piece as noble and of apparent simplicity in spite of the contrapuntal and modulatory complexity of its writing and as appropriate to the subject—classic without becoming cold or dry. 1007. ——. “A l’Opéra-Comique: Pénélope.” Le matin, 16 January 1919. An announcement of the revival of the opera which praises its severe yet delicate beauty and its mixture of classicism and modernity. 1008. Brunel, Raoul. “Pénélope.” L’homme libre, 11 May 1913. Places Fauré with Saint-Saëns and d’Indy in the forefront of French musical life; praises the opera in familiar terms and calls Fauré “le peintre inégalé du clair-obscur musical.” 1009. Calvocoressi, Michel D. “Les grandes premières a l’Opéra de Monte-Carlo: Pénélope….” Comœdia illustré 5, no. 12 (20 March 1913): 559–61. A review of the first performance of Pénélope at Monte-Carlo; having extolled Fauré as composer and teacher and having said that Pénélope fulfilled all expectations, Calvocoressi devotes most of the review to the production itself leaving, as he makes clear, the discussion of the score to Ravel’s review of the first Paris performance to come; does remark that the “austere simplicity” of its subject conforms to the “high classicism” of Fauré’s writing.

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1010. Carraud, Gaston. “Pénélope.” La liberté, 12 May 1913, 2. A long, favorable review which deems the opera to be the best of its genre since Wagner and comparable only to the works of Gluck and Rameau; discusses the interaction of libretto and music although vague about exactly how the drama and the score are integrated; suggests that Fauré was inspired not by Greek tragedy but by Hellenic art and architecture. Carraud also observes that while various melodic ideas in the work remind the listener of Fauré’s songs, the opera does not fragment into isolated, charming sections and that, further, one can now appreciate the depth of Fauré’s smaller pieces having now heard the same compositional techniques applied to “plus hautes émotions.” 1011. Champclos, G.Davin de. “Au Théâtre des Champs-Élysees: Pénélope…, La matinée.” Comœdia, 10 May 1913, 2. A short article which lists the important people in the arts, politics, and society who attended the répétition générale of the Paris premiere; includes short “interviews” with a number of performers and with Fauchois; accompanies the Vuillemin review of the opera (item 1092). (See also items 1031, 1051, and 1082.) 1012. Chantavoine, Jean. “A l’Opéra de Monte-Carlo: Pénélope….” Excelsior, 4 March 1913, 2. Damns Fauré with faint praise; suggests that the music would not have been grand enough for the Homeric theme had Fauchois not tempered the story to suit Fauré’s delicate style. 1013. ——. “Répétition générale au Théâtre des Champs-Élysees— Pénélope….” Excelsior, 10 May 1913. Chantavoine takes the same position as in item 1012; suggests that the music forms a commentary on the drama but one perhaps too delicate for the theater and that Fauré may have simply not distanced himself enough from the more intimate genres of Lied and chamber music to be successful here. 1014. Charley [?]. “Théâtre des Champs-Élysees—Pénélope!” L’action, 10 May 1913. Refers to the opera as “un poème musical”; says it is lyric but does suit the theater.

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Charpentier, Raymond. See item 1075. 1015. Collet, Henri. “La musique chez soi: A propos de Pénélope et Masques et bergamasques de Gabriel Fauré….” Comœdia, 19 March 1920, 2. Asserts that since Rameau, only Wagner’s Die Meistersinger von Nürnberg rivals Pénélope; praises Marliave as the best critic of Fauré’s work and quotes from his essay on Pénélope (see item 1079); makes the comment that Fauré and Les Six have in common simplicity, grace, and other “qualités bien français”; of Masques et bergamasques, mentions only that it was on the program with Pénélope. 1016. Crichton, Ronald. “Pénélope.” The New Grove Dictionary of Opéra. London: Macmillan; New York: Grove’s Dictionaries of Music, 1992. ISBN 0-333-48552-1; 0-935859-92-6 The entry includes a list of principal roles, a paragraph describing the circumstances of composition, a synopsis of the plot, a discussion of the score (Crichton finds resemblance between the music and Fauré’s compositions in other genres of the same period.) and of the piece’s reception. See item 874. 1017. Croiza, Claire. “Le chant—cours d’interprétation: Pénélope de Gabriel Fauré.” Le monde musical 30 June 1924, 183–85. Treats the roles of Pénélope and Euryclée; discusses how the drama is expressed in the music and, as well, gives specific performance instructions. 1018. Curzon, Henri de. “Pénélope de Gabriel Fauré au Théâtre du Casino de Monte-Carlo.” Le guide musical 59, no. 10 (9 March 1913): 198–99. Praises the libretto and gives a synopsis of the plot; lauds the music, as well, declaring that the lyric quality of Fauré’s mélodies and the characteristic harmonies of their accompaniments are reflected in the score. 1019. Dandelot, Arthur. Évolution de la musique de théâtre depuis Meyerbeer jusqu’à nos jours. Paris: Flammarion, 1927. 199pp. Says (90–92) that in Pénélope, Fauré has shown “un prodigieux instinct de l’art antique” and has given “réellement l’impression de

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l’art grec” better than anyone before, even Gluck; cites other critics; elsewhere asserts Gounod’s influence on Fauré (52ff) and his on Chausson (136). 1020. Darnaudat, Jean. “Les premières—Théâtre des ChampsÉlysées: Pénélope par Gabriel Fauré.” L’action française, 10 May 1913. Noting how the intensity of the work, clothed in simplicity, often takes the listener by surprise, terms the opera the most beautiful work by a living French composer; does find it difficult to classify Fauré as an opera composer, however, placing him somewhere between the extremes of Monteverdi and Wagner [!]; laments that Massenet did not attain the same height. 1021. Dayrolles, Albert. “Théâtre des Champs-Élysées: Première représentation de Pénélope.” Lesannales, 14 June [1913]. Describes the opera, mentioning the musical high points and praising the orchestration. 1022. Drault, Jean. “Les premières—Théâtre des Champs-Élysées: Pénélope.” Le libre parole, 11 May 1913. Contends that the subject of the drama involving a model wife with bourgeois values was a perfect one to be reflected in Fauré’s discreet, pure, and simple music; makes a comparison with the music of Gluck. 1023. Dukas, Paul. “Pénélope de G.Fauré.” In Les écrits de Paul Dukas sur la musique, 644–47. Paris: Société d’éditions françaises et internationales, 1948.189 Review of the revival of Pénélope, April 1923; Dukas’s view of the opera is that the music does not accompany the libretto as in certain other pieces but is rather the animating force of the drama—in this, he compares the piece to The Magic Flute and Fidelio; with some sense of being an apologist for the work, speaks of the public’s growing acceptance of the opera which reaches a “hauteur de lyrisme où la mode n’atteint pas” and which is the supreme achievement “du goût et de la sensibilité française”; see also item 935.

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1024. Eckart-Bächer, Ursula. “Gabriel Fauré und Pénélope.” Chapter 5, section 2 of Frankreichs Musik zwischen Romantik und Moderne: Die Zeit im Spiegel der Kritik, 279–82. Regensburg: Gustav Bosse, 1965. Having delineated the principal musico-political forces of the time—the Schola Cantorum and the Société nationale, on the one hand, and the Société musicale indépendante and the “Debussysts,” on the other— Eckart-Bächer discusses how Fauré, while he sympathized with the younger generations need for artistic freedom, did not ally himself with either side190; continues to point out that Pénélope became the rallying point for those who wished for a comprehensible modernity, that the opera was welcomed as much for its “anti-modern” character as for its inherent qualities.191 1025. F[auré], F.192 “A l’Opéra de Monte-Carlo… Pénélope.” Petit parisien, 6 March 1913. A review which places the opera in the tradition of Rameau and Gluck. 1026. Faure, Gabriel. “Naissance de Pénélope de Gabriel Fauré.” Comœdia, 6 March 1943, 1, 4. An article which reprints passages from the two essays in item 254. 1027. Fauré-Fremiet, Philippe. “La genèse de Pénélope.” La revue musicale 10, no. 7 (May-June 1929): 53–58. Reprinted from item 91 (97–108 of the second edition); recounts, through excerpts from letters of Fauré to his wife, his progress in the composition of Pénélope during the summer of 1907; also describes Fauré’s dissatisfaction with the arrangements for the first performance in Monte Carlo. 1028. ——. “La genèse de Pénélope.” In Le centenaire de Fauré, 8– 26. Paris: Éditions de La revue musicale, 1945. Reprinted, nearly complete, Association des amis de Gabriel Fauré: Bulletin 11 (1974): 13–24. This article is described by some as an expanded version of item 1027, but it shares nothing with the author’s earlier piece except the title. Here,

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Fauré-Fremiet examines the exact nature of Pénélope’s Attic qualities and refers to the work as “une Bonne chanson à l’échelle mythique”; explains the psychology of the plot and its characters, and discusses how he believes his father related to them; describes the difficulties Fauré had composing the action sequences—the non-lyric pas-sages—of the work as well as his efforts to render simple any passage which seemed to demand the picturesque; chronicles the work accomplished on the opera year by year from 1907 through early 1913; discusses Fauré’s orchestration and the nature of his collaboration with an assistant; compares Fauré’s use of Leitmotiv with that of Wagner. 1029. Fourcaud, Louis de. “Théâtre de Monte-Carlo… Pénélope.” Le gaulois, 5 March 1913. The reviewer discusses principally the plot and the libretto admitting that he has not the technical competence to show how Fauré’s music makes the text come alive. 1030. ——. “Musique—Théâtre des Champs-Élysées: Pénélope….” Le gaulois, 11 May 1913. Fourcaud expresses the same views as in his review of the Monte-Carlo premiere. 1031. Gehelle. “Les costumes de Pénélope.” Comœdia, 9 May 1913, 3. A description of the costumes designed for the first Paris performance. (See also items 1011, 1051, 1082, and 1092.) 1032. Germain, Auguste. “Les premières à Monte-Carlo—Opéra de Monte-Carlo: Pénélope…musique de Gabriel Fauré.” Echo de Paris, 5 March 1913. Praises the opera as “une œuvre définitive” and “un triomphe.” 1033. Ghéon, Henri. “A propos de Pénélope et de Boris Godounov: Réponse à Jacques Rivière et à M.Pierre Lalo.” La nouvelle revue française 10 (July-December 1913): 133–142. Ghéon believes that Jacques Rivière has condemned Fauré’s opera better to praise Musorgsky’s work (see item 1076) and that Lalo has done the reverse,193 and he intends to provide some balance to the criticism which has not done justice to the “bel effort de M.Gabriel

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Fauré” (133); however, the article is almost entirely a refutation of Lalo’s judgment of Boris Godunov and praises Pénélope only briefly and in a left-handed manner. 1034. Gheusi, P.B.Guerre et théâtre, 1914–1918. Mémoires d’un Officier du Général Gallieni et journal parisien du Directeur de l’Opéra-Comique pendant la guerre. Nancy and Paris: BergerLevrault, 1919. 384pp. An account of the war from a very particular point of view; discusses the role and activities of the Opéra-Comique during the war; mentions Fauré briefly in connection with Paul Vidal and Claire Croiza. 1035. Gilson, Paul. “Pénélope: Première représentation au théâtre de la Monnaie…musique de M.Gabriel Fauré.” Le soir, 3 December 1913, 1. Gilson begins by contrasting Fauré’s “chef-d’œuvre” with Strauss’s Electra; praises Pénélope although finds fault with the scene of the massacre of the prétendants, deeming the music for it less powerful that he would wish; finds an echo of Shylock in the orchestration. 1036. Hahn, Reynaldo. “La musique, Théâtre des Champs-Élysées: Pénélope.” Le journal, 11 May 1913. Finds the opera magnificent with everything in the piece conceived for scenic effect and wonders why Fauré has waited so long to write in this genre; asserts that Fauré can be seen as a composer for opera if compared not with Meyerbeer or Puccini but rather with Gluck; here makes his famous characterization of Fauré’s deuxième manière as “voluptueusement grégorien.” 1037. Honegger, Arthur. “A l’Opéra: Pénélope, un chef-œuvre.” Comœdia, 20 March 1943, 1. Reprinted in large part in Incantation aux fossiles, 77–79. Lausanne: Éditions d’Ouchy, 1948. Written on the occasion of the opera’s revival at the OpéraComique; calls Pénélope a miracle; admits that Fauré’s music is difficult to appreciate and requires time “à pénétrer le mystère de cette langue si subtile”; agrees that Fauré is an innovator chiefly through his harmonic language, citing examples from Pénélope (which he implies are harmonic Leitmotive); reviews the production, as well.

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1038. Huebner, Steven. “Ulysse Revealed.” In Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998. Examines the dramatic logic of the opera which involves “the gradual reintegration of Ulysse into his own environment” as revealed by Pénélope’s gradual recognition of her husband; discusses tonality, motive, and texture as elements of the musical representation of this drama.194 1039. Inghelbrecht, Désiré-Émile. “L’infortune de Pénélope.” Chapter 3 of Le chef d’orchestre parle au public [sic], 33–42. Paris: René Julliard, 1957. 229pp.195 The author discusses a number of performance problems which may explain the opera’s lack of appeal to the general public; suggests that, as in Tristan, there are longs spans of music which are difficult to stage and must be sung as if in conceit; gives examples of Fauré’s prosody’s being at odds with the dramatic action; maintains that Fauré’s melodic writing often calls for a Lieder singer and not an operatic voice; makes specific complaints about the orchestration which he feels needs a complete revision while, at the same time, discounts the legends that Fauré had little to do with the orchestration of the piece. Elsewhere in the book, the author notes that Fauré’s music is not much played abroad or in France because it appears to some too abstract and to others banal (30); indicates that appreciation of Fauré’s music requires more than one hearing; also quarrels with the metronome marking of the “Pie Jesu” of the Requiem and cites Louis Aubert to support his view (30). 1040. Jankélévitch, Vladimir. “Pelléas et Pénélope.” Revue historique et littéraire du Languedoc 6 (June 1945): 123–30. The author sets up as opposites frenzied despair and quiet hope which he finds reflected respectively in the situations of Pelléas and Pénélope and (finding no separation between their art and their lives) in the music and personal situations of Debussy and Fauré; for Jankélévitch, Fauré is the embodiment of tranquillity in both life and music; several passages reappear in item 429.

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1041. Jullien, Adolphe. “Pénélope” Le journal des débats, 10 May 1913, 1–2. A restrained but favorable review; mentions Bréval’s early contribution to the project; discusses the reasons the piece was not being performed at the Opéra; suggests that the libretto’s intimate character fits well with Fauré’s inclination toward mélodie196; examines the dramatic structure of the work as he sees it reflected in the music and finds the second act the most impressive section of the opera. 1042. Kœchlin, Charles. “Chronique musicale—Théâtre des ChampsElysées: Pénélope…de M.Gabriel Fauré.” Gazette des beauxarts 55, no. 673 (July 1913): 77–81. The author deplores the fact that a composer is measured by his music for the stage; contests the notion that “la force et la grandeur” are the necessary qualities for success in this genre and maintains that Fauré has the qualities which are truly essential to effective stage works: the ability to understand the characters being portrayed and to adapt his music to the demands of each dramatic situation; deems Pénélope—“so purely and so perfectly Greek”—a triumph for this reason. Kœchlin notes that, in spite of this dramatic flexibility in Fauré’s music, his musical style remains consistent and is remarkable not for novelty but for inventive use of familiar tonal materials; as in his remarks about the “Sicilienne” (item 909), offers a back-handed defence of the orchestration by suggesting that what is most significant about Pénélope is expressed by aspects of the music other than its instrumentation; concludes by doubting that the opera will have any influence on younger composers. 1043. ——. “Gabriel Fauré, musicien dramatique.” La musique française 2, no. 3 (July 1933): 175–86. Deplores the lack of attention paid Fauré’s music but understands that “plus Fauré s’éleva dans son art, moins il y eut de fidèles pour le suivre” (185); considers that Fauré has, in Pénélope, perfected Wagner’s system of Leitmotive. 1044. Lalo, Pierre. “La musique—Pénélope….” Le temps, 15 April 1913, 3.197 Lalo waxes eloquent about the opera’s embodiment of the aesthetic ideal of ancient Greece unequaled since Gluck; praises the restrained,

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refined style of the piece which he calls the most perfectly French work to appear in a long while (“française par le sentiment et par l’expression”) and which he places in the tradition of Rameau and Racine. 1045. Laloy, Louis. “La musique—Théâtre des Champs-Élysées: Pénélope, de M.Gabriel Fauré….” Grand revue 17, no. 10 (25 May 1913): 402–5. Commends Fauré for having performed a miracle in setting so well a poor libretto; deems the score to have reconciled “la puissance” and “la délicatesse”; strongly criticizes the choreography. 1046. Lassus, Jean de. “Pénélope au Théâtre d’Orange.” Le monde musical 5 and 6 (March 1924): 89–90. A “review” of the plot; includes one or two complaints about the performance of specific roles. 1047. Le Borne, Fernand. “Les premières à Paris: Pénélope.” Le soir, 12 May 1913. A favorable review of the music as “une partition absolument hors de pair”; promises a longer review after the second hearing which such an important piece merits. 1048. ——. “Théâtres: A l’Opéra-Comique.” Excelsior, 16 January 1919. A very favorable review of the revival of Pénélope; the author admits that the opera is not an easily accessible piece but describes it as having “une réelle noblesse de style” and as making no concessions either to the usual theater-goer or to the “ultra-modernistes.” 1049. Le Page, Edmond. “Au Théâtre des Champs-Élysées: Pénélope….” Paris journal, 11 May 1913. Praises the work in familiar terms and contends that it reveals Fauré’s “inaltérable jeunesse d’inspiration.”

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1050. Leroux, Xavier. “La musique au théâtre: Pénélope.” Musica 30 (July 1913): 142. Deems Fauré the successor and equal of Schumann and Schubert; finds in Pénélope a greater intensity than ever before but with no loss of charm; believes that Fauré’s harmonic language is born of his contrapuntal style; also maintains that Pénélope succeeds because the modulations are so logical that they are never a distraction to the listener as they are in some music for theater. 1051. Linor, G. “Au Théâtre des Champs-Élysées: Pénélope…, L’interprétation.” Comœdia, 10 May 1913, 2. A review of the singers and instrumentalists in the Paris premiere which accompanies Vuillemin’s review of the opera (item 1092); Linor praises almost everyone and is very mild in his criticism of the few faults he does find in the performance.198 (See also items 1011, 1031, and 1082.) 1052. ——. “Théâtre des Champs-Élysées: Première représentation de Pénélope.” Comœdia, 11 May 1913. A shorter version of the review published the previous day. 1053. Loppert, Max. “On Radio: Pénélope (Fauré)….” Opéra 25, no. 3 (March 1974): 268–70. A commentary written on the occasion of the BBC broadcast of this, “the most underrated and ignored of great operas”; the author muses about why the work is so little known and performed; ends by offering a criticism of the performance. 1054. ——. “Fauré’s Pénélope.” Opéra 33, no. 3 (March 1982): 250–55. A review of two recordings of the opera (Crespin, 1956; Norman, 1980199) which also includes an account of the opera’s composition, its first performances, and its subsequent reception: the author deplores the “long-standing myth of Pénélope as a noble but essentially undramatic opera” and demonstrates in his discussion of the music how the myth is false.

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1055. Lot, Ferdinand. “Naissance d’un chef-d’œuvre [Pénélope]: René Fauchois et Gabriel Fauré.” Gavroche, 17 May 1945, 4. An interview with Fauchois which reveals that after Pénélope, he tried to interest Fauré in another libretto on the subject of Armide. Fauré rejected the idea: “Tout ce que j’ai pu posséder d’illusion réligieuse, je l’ai mis dans mon Requiem, lequel, d’ailleurs, est dominé d’un bout à l’autre par ce sentiment bien humain: la confiance dans le repos éternel.” And, very shortly before Fauré’s death, Fauchois tried to interest him in another project on the subject of Ruth and Boaz. 1056. Machabey, Armand. “La Pénélope de Gabriel Fauré à l’Opéra.” Information musicale, 16 April 1943, 285. The author speaks of “la miraculeuse musique de Fauré” which he compares for its dramatic success with Tristan and with Pelléas of Debussy; says further that the score is “de l’authentique Fauré,” exhibiting the harmonic richness, the melodic flow, and the “aristocratique simplicité” expected of his music; praises the orchestration. 1057. Malherbe, Henry. “Chronique musicale: Pénélope.” Le temps, 25 April 1923, 3. A review of a revival of Pénélope. Malherbe considers the piece unique in the history of lyric drama, and his good opinion of it has not diminished in the ten years since its premiere; describes the opera as conceived like chamber music in which classic purity is allied with innovation; makes reference to Fauré’s famous chord progressions and modulations which are never so complex as when they appear to be simple; says that those who do not know the French language will not appreciate Fauré’s subtlety in setting the text; contrasts Fauré’s use of Leitmotiv with Wagner’s. 1058. ——. “L’Opéra-Comique.” Chapter 2 in Cinquante ans de musique française de 1874 à 1925, edited by Ladislas Rohozinski, 1:119–97. Paris: Librairie de France, 1925. The section on the post-war revival of Pénélope is a reprint of item 1057.

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1059. Marnold, Jean. “Musique—Théâtre des Champs-Élysées: Pénélope….” Le mercure de France, 16 June 1913, 848–53. The author clearly finds the libretto mediocre and wonders why someone of Fauré’s stature would have accepted it. And, although Marnold appears to have great respect for the opera, he does find fault with the orchestration (“L’orchestre de M.Fauré résonne comme de la musique de chambre….”) and certain compositional details and, indeed, goes so far as to hint that the style may appear old-fashioned to those accustomed to Debussy. 1060. Maudru, Pierre. “Le souvenir de Gabriel Fauré.” Comœdia, 5 September 1927, 3. Part of a homage to Fauré (see item 245); Maudru contends that Pénélope is, partly because of its libretto and its production design, really “un œuvre de concert” which is nonetheless great music and should be performed; also maintains that Fauré’s intimate music requires more time to understand than a theater experience allows. 1061. Maus, Octave. “Pénélope.” L’art moderne, 25 May 1913, 163. Reacts favorably to the opera, citing its lyric expression, its stylistic unity, and its “caractère antique.” 1062. Méry, Jules. “Premières representations, Opéra de MonteCarlo—Pénélope….” Petit journal, 7 March 1913. Notes that the wait to see how well Fauré’s style would translate to the stage has been an impatient one; characterizes the music as “d’une noble sévérité.” 1063. ——. “Le théâtre à Monte-Carlo: L’art du décor à MonteCarlo.” Revue de la Riviera, 23 March 1913.200 An enthusiastic review of the stage set praising its designer, M. Visconti. 1064. ——. “A l’Opéra de Monte-Carlo: Les premières de Pénélope et de Venise [R.Gunsbourg].” Musica 127 (April 1913): 74f.201 A short, favorable review repeating passages from item 1062.

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1065. Mischa-Léon. “Opéra in Paris: Gabriel Fauré’s Pénélope—A Master of French Music.” The Morning Post, 14 April 1923. An announcement of the revival of the opera at the OpéraComique that evening202; praises the work for its purity and beauty and compares it with operas of “the great classical school” such as Mozart’s Zauberflöte and Gluck’s Orfeo ed Euridice; commends, as well, Fauré’s melodic gifts and his ability to set text, giving as examples a number of the songs; sees Fauré as the composer who has communicated “the beauty and serenity of French music” to the world. 1066. Neisser, Arthur. “Pénélope… Musik von Gabriel Fauré.” Signale für die musikalische Welt 71, no. 11 (12 March 1913): 399–401. A scathing review which condemns the libretto at length, grudgingly giving Fauré credit for not underlining its worst excesses; criticizes Fauré’s orchestration as piling up color upon color without any unity and his harmonic organization as modulation upon modulation with resolution; in general, finds the opera cold; praises the performers. 1067. ——. “Neue Opern in Monte Carlo.” Neue zeitschrift für Musik, 20 March 1913, 1–3. A review in the same vein as item 1066. Neisser again deplores the poverty of the libretto and the lack of dramatic tension in the work; finds only a few moments in the score where there is a spark of light to relieve “the gray, monotone whispering of this bloodless music” (“das graue monotone Geflüster dieser blutleeren Musik”) from which might be drawn a “dusty” orchestral suite written in a style which is second-rate Gluck. 1068. Pawlowski, G. de. “Première à l’Opéra-Comique: Pénélope.” Le matin, 16 January 1919. The author praises the opera, hearing in it the same nobility as in Siegfried, Tannhäuser, and Debussy’s Pelléas et Mélisande, but finding in it, as well, a classicism that is absolutely fauréen.

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1069. Pioch, Georges. “Une lecture de Pénélope.” Gil Bias, 7 November 1912, 1. Reports a reading of the opera at the residence of Lucienne Bréval in the presence of d’Indy and Pierre Lalo, among others; Cortot was the pianist. The lyric grace of the piece reminded Pioch of Gluck. 1070. ——. “A l’Opéra de Monte-Carlo: La répétition générale de Pénélope.” Gil Blas, 5 March 1913. A review of the répétition générale which contends, in flowery language, that the nature of the music reflects the nature of the characters of the drama; again compares Fauré with Gluck; criticizes the orchestration of the second act as rigid. 1071. ——. “La journée parisienne: Au Théâtre des ChampsElysées.” Gil Blas, 10 May 1913. A report of the répétition générale of Pénélope which was, according to Pioch, wildly successful; among the audience: Saint-Saëns, d’Indy, Debussy, Dukas, Ravel, Schmitt, Cortot, Léon Blum, Claire Croiza. 1072. Pougin, Arthur. “Semaine théatrale—Théâtre des ChampsElysées: Pénélope….” Le ménestrel 79, no. 20 (17 May 1913): 154–56. A favorable review of Pénélope by an obviously conservative critic who praises Fauré as a model of comprehensible modernity; lists Fauré’s earlier compositions for the stage as well as a number of early operas which drew their plots from the Odyssey; praises the libretto and provides a plot synopsis; describes the score but finds it difficult to characterize one of Pénélope’s arias—it is neither song nor declamation but “une sorte de récit musical.” 1073. Poulenc, Francis. “L’orchestration de Fauré.” Comœdia, 20 March 1943, 1 & 4. Poulenc admits that while much of Fauré’s music escapes him, Pénélope moves him greatly; yet deplores the orchestration which he terms “disparate et lamentable” and “un vêtement de plomb” and suggests that it should be redone by someone such as Kœchlin.

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1074. Quittard, Henri. “Les théâtres—Théâtre de Monte-Carlo: Pénélope….” Le figaro, 6 March 1913, 5–6. A favorable review of the opera which notes that those who awaited with confidence Fauré’s operatic debut were not disappointed and which praises Fauré’s “classic moderation” and “economy of means.” 1075. Raymond-Charpentier, [?].203 “Pénélope de M.Gabriel Fauré.” La revue française politique et littéraire, 1 June 1913. Says that those who worried that Fauré could not write an opera were premature in their concern, since Fauré “has perfectly adapted himself to the theater” [“M.Fauré s’est…parfaitement adapté au théâtre.”]; does not want to see the opera abandoned after only a short run. 1076. Rivière, Jacques. “La Pénélope de Gabriel Fauré….” La nouvelle revue français 9 (January-June 1913): 1037–39. Rivière finds Pénélope boring; maintains that after Wagner, few would be up to the task of composing an opera and that Fauré is not one of them; describes Fauré as “a victim of the lyric drama.” However, Rivière never says specifically what displeases him about the work.204 1077. Roland-Manuel [Roland Manuel Alexis Lévy]. “La quinzaine musicale—la reprise de Pénélope à Opéra-comique.” L’éclair, 23 December 1924, 2. Roland-Manuel observes that if a subtle stage work is not popular, it is often the production rather than the author which is at fault; here, he indeed finds fault with the production of Pénélope (mentioning particularly the stage setting) which thwarts the simple dignity of the opera and is saved only by the voice and stage presence of Claire Croiza in the leading role. 1078. Rubbra, Edmund. “Last Week’s Broadcast Music by Edmund Rubbra.” The Listener 90, no. 2329 (15 November 1973): 677. A review of a concert performance of Pénélope. Rubbra found to be without substance his fear that the intimate quality of Fauré’s music might be lost in the larger genre of opera; praises “the extraordinary flexibility and individuality of Fauré’s harmonic language.”

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1079. Saint-Jean, J. [Joseph de Marliave]. “Revue musicale—Théâtre des Champs-Élysées: Pénélope….” La nouvelle revue, 15 June 1913, 513–23. Reprinted several times. In the same journal, 1 February 1919, 241–55; in the author’s Études musicales, 35–60 (Paris: F.Alcan, 1917); in Marguerite Long’s Au piano avec Gabriel Fauré, 185–203 and its English translation, 116–30 (see items 746/747). The last paragraph of the original, mentioning the performers of the Paris premiere, is omitted from the reprints. Repeating the assessment 205 of Pénélope that it is the only postWagnerian opera which can be compared to the works of the German composer, Marliave adds that for the first time in 150 years, the French stage has spoken in its own language—that Fauré (whom he calls the greatest musician of France and comparable to Mozart, Schubert, and Chopin) has reestablished the tradition of Rameau; laments the tendency to judge composers by the size of their works which has kept Fauré from the recognition he deserves. The largest part of the article is a synopsis of the score and analysis of the drama; Marliave speaks of its balance and restraint (again comparing Fauré to Mozart), comments on the music’s portrayal of the characters and their situations, and—unlike other critics—praises the orchestration. 1080. Schneider, Louis. “Les grandes premières: Pénélope à l’Opéra de Monte-Carlo.” Étoile belge, 7 March 1913. A brief, favorable review of the opera which he describes as being in a “style classique.” 1081. ——. “Pénélope.” Les Annales, 9 March 1913, 208–10. A favorable review of the premiere most of which is given to recounting the original legend as found in classic sources, giving a synopsis of the plot as adapted by Fauchois, and describing the score. Schneider suggests that Fauré has waited so long to compose an opera because no other subject has suited his taste; refers to Fauré as the “père harmonique” of Debussy. See also item 28. 1082. ——. “Au Théâtre des Champs-Élysées: Pénélope…, La mise en scène et les décors.” Comœdia, 10 May 1913, 2. A description of the stage setting for the first Paris performance; Schneider maintains that the staging depicts ancient Greece as revealed

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by modern research; accompanies the Vuillemin review of the opera (item 1092). (See also items 1011, 1031, and 1051.) 1083. ——. “Les théâtres de Paris: Pénélope au Théâtre des ChampsÉlysées.” Etoile belge, 10 May 1913. Speaks of the classic nobility of the music. 1084. ———. “La répétition générale de Pénélope au Théâtre des Champs-Élysées.” Le gaulois, 10 May 1913. Leaving a review of the following day’s premiere to Louis de Fourcaud, Schneider treats only Astruc’s production of the opera and public reaction to it. 1085. ——. “Les théâtres à Paris—Théâtre des Champs-Élysées: Pénélope…” Etoile belge, 19 May 1913. Uses the familiar terms—charm, nobility, grace—to describe the music; believes that Pénélope will remain a model for future composition; says, erroneously, that the libretto conforms to Homer. 1086. ————. “Théâtre des Champs-Élysees: Pénélope.” Le théâtre, June 1913,11–17. A very laudatory review which describes the opera as having “un beauté noble”; some material drawn from an earlier article in Etoile belge (item 1085). 1087. Souday, Paul. “Les premières—Théâtre des Champs-Élysees: Pénélope. . . . “L’ éclair, 11 May 1913. Considers Pénélope a triumph and places it alongside Fervaal, Ariane et Barbe Bleue, and Debussy’s Pelléas; compares Fauré in his classicism to Rameau; has small criticisms of the production. 1088. Stoullig, Edmond, and Edouard Noel. “Théâtre des ChampsElysées.” In Les annales du théâtre et de la musique, vol. 39 (1913), 309–36. Paris: Paul Ollendorff, 1914. An effusively favorable review (315–21) of the first Paris performance which extols Fauré, praises the libretto, and recounts the plot, but says almost nothing about the music.

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1089. Tenroc, Charles. “M.Rousselière nous parle de la Pénélope de M.Gabriel Fauré.” Comœdia, 11 August 1912. A superficial interview with the singer who praises the originality of the opera and says that it will surpass Prométhée. 1090. Vallas, Léon. “(Œuvres nouvelles: Pénélope de G.Fauré.” Revue française de musique 11, no. 13 (May 1913): 557–60. Contends that Wagner and most of the disciples of Franck have so accustomed the public to grandeloquence that they do not recognize the true grandeur of a piece like Pénélope and assign the label of salon music to any work that is restrained in style; praises “la déclamation qui n’a rien de la rudesse wagnérienne ou de la puérilité debussyste.” 1091. Vuillemin, Louis. “Pénélope et les prétendants….” Comœdia, 8 November 1912, 3. See item 39. 1092. ——. “Au Théâtre des Champs-Ély sees: Pénélope….” Comœdia, 10 May 1913, 1–2. The first half of the article is a tribute to the composer whose reputation, Vuillemin maintains, grows daily among performers; the author draws the reader’s attention to a large number of Fauré’s compositions, particularly the vocal works, comments on the care Fauré takes with text setting, and divides Fauré’s output into four manières. The second half of the article is an ecstatic review of the opera in its Paris premiere. Vuillemin asserts that the power of the piece was always part of Fauré’s writing and is simply more easily apprehended in an opera; unlike some critics, praises the libretto; discusses the score in terms of the themes; concludes by calling Fauré the youngest musician in France. (See also items 1011, 1031, 1057, and 1082.) 1093. Vuillermoz, Émile. “Les théâtres…[Pénélope].” Bulletin SIM, May 1913, 59–61. Devotes a few paragraphs to the opera (61); before hearing the work, wondered—as did everyone else—if Fauré could write an opera; describes Pénélope as having “une atmosphere de pur hellénisme….”

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1094. ——. “Pénélope.” L’éclair, 19 January 1919, 3. Vuillermoz objects to the characterisation of the production of Pénélope at the Opéra-Comique as “la ‘véritable’ première” and insists that it is rather “la ‘véritable troisième’” of the opera, inferior to the first two productions: describes this presentation of the work as cold (“correcte et glacée”) and at odds with the human quality of Fauchois’s libretto and of the Homeric original. It is also contrary to the Hellenic spirit of Fauré’s music which, while transparent and possessed of a “melodic purity” and a refinement perceptible only “aux professionnels attentifs,” is certainly not dry and cold. Vuillermoz also offers specific criticisms about the musical interpretation and does not care for either the conductor or the soprano singing the title role. 1095. ——. “Opéra-Comique—Pénélope….” Le théâtre et la musique, 1 March 1919, 4–6. Asserts that Pénélope is a paradox: it is at the same time dramatic music and that which admirers of chamber music call “la ‘musique pure’”; criticizes the conductor, Ruhlmann, expressing his preference for the performance of the Prélude of the opera conducted the previous year by Guy Ropartz. 1096. ——. “La musique—Concerts spirituels—Pénélope.” L’excelsior, 17 April 1922, 4. A laudatory article written on the occasion of a revival of the opera at the Opéra-Comique, an event almost ignored, the author suggests, because Fauré’s music does not appeal at first hearing to the ordinary listener; further, asserts that the opera has not yet had the production it deserves; traces the three acts of the work praising Fauré’s technique at every opportunity. 1097. ——. “La musique—Pénélope.” L’excelsior, 16 April 1923, 5. A review of a production of the opera at the Opéra-Comique on the tenth anniversary of the premiere with the original singers (Bréval and Muratore) in the two principal roles; mention is made of Fauré’s attendance at the performance; the largest part of the article is spent praising the musical gifts of Muratore—Bréval receives very short shrift here. 1098. ——. “La musique.” L’excelsior, 15 December 1924, 3.

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A review of a performance of Pénélope (together with Masques et Bergamasques and parts of the Requiem) in memory of Fauré. Vuillermoz praises the conductor, Inghelbrecht, but has some criticisms for the underrehearsed orchestra; he also characterizes the opera as a work of intense lyricism which should be allowed to speak to its listeners rather than have its immediacy hindered by a production (sets, direction, etc.) which fosters the notion that the composition is remote from human experience—a museum piece. (The article mentions other concerts including a performance of Fauré’s “Ballade” by Robert Casadesus.) See also items 22, 25, 28, 39, 367, 405, 463, 548, 877, 929. Sœur Béatrice 1099. Guiette, Robert. La légende de la Sacristine: Étude de littérature comparée. Paris: [n.p.], 1928. Reprint. Geneva: Slatkine, 1981. 534pp. ISBN 2-05-100271-1 A study of the legend upon which Maeterlinck’s Sœur Béatrice was based. 1100. Halls, Wilfred D. “Les débuts du Théâtre nouveau chez Maeter-linck.” Fondation Maurice Maeterlinck: Annales 3 (1957): 45–58. A discussion of Maeterlinck’s libretti for Ariane et Barbe-bleue and Sœur Béatrice which indicates that the setting of the latter was first assigned to Gabriel Fabre but does not mention that Fauré also considered composing a score for it. Miscellaneous 1101. Jean-Aubry, Georges. “Gabriel Fauré, Paul Verlaine et Albert Samain ou les tribulations de ‘Bouddha’.” In Le centenaire de Gabriel Fauré, 39–58. Paris: Éditions de La revue musicale, 1945. An account of the discussions surrounding the composition of a dramatic work on the subject of Buddha for the studio of the Princesse de Polignac; organized around correspondence between Fauré and the two poets; Jones (item 54) differs in the dating of certain letters (in one case, erroneously); see Nectoux’s discussions of the project (items 53 and 101).

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Miscellaneous pieces Hymne à Apollon, Op. 63bis 1102. Reinach, Théodore. “La musique des hymnes de Delphes.” Bulletin de correspondance hellénique 17, nos. 8–12 (August-December 1893):584–610. Discusses in detail the music of the Delphic stone—its notation, rhythm, melody—and attempts a transcription.206 1103. ——. “A propos de ‘l’hymne d’Apollon’.” Revue de métrique et de versification 1, no. 1 (July 1894): 10–16. An expansion of the articles published by the author and Henri Weil earlier (items 1102 and 1004); music is not discussed except for indications of underlay. 1104. Weil, Henri. “Inscription de Delphes, I. Un péan Delphique, II. Nouveaux fragments d’hymne accompagnés de notes de musique.” Bulletin de correspondance hellénique 17, nos. 8–12 (August-December 1893):569–83. Includes a technical discussion of the Delphic stone and a reproduction of its inscription. Weil says that the musical notation is the longest and most authentic specimen of Greek music extant. EXHIBITION CATALOGS 1105. Lesure, François, ed. Gabriel Fauré Paris 1963. Paris: Bibliothèque Nationale, 1963. 16pp. Catalog of exhibition of 100 items including manuscripts, sketches, and letters of the composer; preface by Julien Cain, Administrateur général de la Bibliothèque Nationale. 1106. Nectoux, Jean-Michel. Gabriel Fauré 1845–1924. Paris: Bibliothèque Nationale, 1974. Catalog of exhibition of 111 items including photographs, sketches, manuscripts, and letters.207

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DISCOGRAPHIES 1107. Anon. “Gabriel Fauré (1845–1924).” Le courrier musical de France suppl. to 51 (3e trimestre 1975): v–vii. A checklist of recordings organized by genre and listing performers and catalog numbers. 1108. Henry-Jacques, [?]. Claude Debussy, Maurice Ravel, Gabriel Fauré et le disque. Saint-Quentin: Impr. de D.Antoine et M.Arnaud, [1939].208 56pp. “Gabriel Fauré et le disque” (28–43) includes a brief biobibliographical introduction and a discography by genre. 1109. Nectoux, Jean-Michel. “Gabriel Fauré cinquante ans après sa mort.” Diapason 191 (November 1974):12–15. In the first section of this brief overview of the Fauré discography (“L’œuvre de Fauré et le disque”), Nectoux gives a capsule history of recordings from 1899; in sections devoted to various genres, he continues with pithy reviews of new and forthcoming recordings as well as those of certail “classic” performances still available. 1110. ——. Gabriel Fauré 1900–1977. Phonographies (Département de la phonothèque nationale et de l’audiovisuel, Bibliothèque Nationale), vol. 1. Paris: Bibliothèque Nationale, 1979. 263pp. ISBN 2-7177-1467-7 A meticulous catalog of recordings of Fauré’s music listing for each item the performers, the physical description of the recording, catalog numbers and label information, date of recording, sound collections holding the item (France, Belgium, Great Britain, United States); works are listed alphabetically by title (including transcriptions); indices by title and by performer; illustrations. 1111. P[ioch], G[eorges]. “Gabriel Fauré et le disque.” In Gabriel Fauré, 42. Paris: Les publications techniques et artistiques, 1946. A list of a handful of the author’s favorite recordings of Fauré’s works in a number of genres; expresses the hope that Pathé-Marconi will soon record Pénélope. See also item 118.

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MISCELLANEOUS 1112. Anon. “Geen Fauré-museum in Parijs [No Fauré Museum in Paris].” Mens en melodic 39, no. 4 (April 1984): 197. A paragraph report stating that in spite of speculation to the contrary, the last residence of Fauré (where his daughter-in-law resided until her death in November 1983) would not become a museum and that his desk and piano would be given to the Musée du Conservatoire, manuscripts to the Bibliothèque Nationale, and sculptures by Fauré’s father-in-law to the Louvre. See item 1123. 1113. Amerongen, Alex van. “Het Festival-Gabriel Fauré te Foix.” Mens en melodic 13, 9 (September 1958): 264–66. An account of the second Fauré festival at Foix mentioning works and performers. 1114. ——. “Correspondentie buiten- en binnenland—Parijs: Fauré-herdenking.” Mens en mélodie 20, no. 1 (January 1965): 24–25. Report of observances of the fortieth anniversary of Fauré’s death: a service at Fauré’s grave at which Jankélévitch spoke and a concert at the R.T.F.Amerongen was particularly pleased all compositional periods of Fauré’s life were represented on the program and that works for orchestra were highlighted. 1115. Benevides, Walter. Compositores surdos: Beethoven— Smetana—Fauré. Rio de Janeiro: Laemmert, 1970. 70pp. Examines the significance of their deafness on the music and careers of the three composers; the section on Fauré is rather brief (51–57). 1116. Fauré, Michel. “La nostalgic du XVIIIe siècle chez Fauré, Debussy et Ravel.” Thèse de doctoral du troisième cycle, Université de Paris IV, 1974. Not seen.

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1117. ——. Musique et société, du second empire aux années vingt: Autour de Saint-Saëns, Fauré, Debussy et Ravel. Paris: Flammarion, 1985. 424pp. ISBN 2-08-064650-8 A sociological examination of music in France from 1851 to 1936 centered about the four composers indicated. The author suggests that it is unusual for him, writing from a Marxist perspective, to be interested in the personalities of his subjects, but the reader may find it less extraordinary to understand the conviction that if one external force, such as “matérialisme historique,” can shape a work of art, so can the psychology of its creator. Accordingly, there are chapters which discuss the social situation of composers, the sexuality of the four under consideration, aesthetics, the nature of the audience whether a patron or the public, the effect of non-Western influences, and so forth. 1118. Gabeaud, A. “Gabriel Fauré à l’école.” L’éducation musicale 9, no. 9 (June 1954): 8–9, 13. The author considers many of Fauré’s vocal works (including songs from La bonne chanson and L’horizon chimérique [!]) to be accessible to the young listener and suitable for amateur voices; proposes, then, their use in classroom music instruction and lists available recordings of selected works. 1119. Kimpara, Reiko. “Pèlerinage fauréen, 1: Pamier, Foix, la maison de Fauré.” Ongaku-no-sekai [Le monde de musique] (Tokyo), April 1993, 24–30. Not seen. 1120. ——. “Pèlerinage fauréen, 2: Foix et Montgauzy.” Ongakuno-sekai [Le monde de musique] (Tokyo), May 1993, 26–31. Not seen. 1121. ——. “Pèlerinage fauréen, 3: Les Faurés.” Ongaku-no-sekai [Le monde de musique] (Tokyo), June 1993, 22–26. Not seen.

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1122. Nectoux, Jean-Michel. “Musique, symbolisme et Art Nouveau: Notes pour une esthétique de la musique française fin de siècle.”209 In Art Nouveau, Jugendstil und Musik, edited by Jürg Stenzl, 13–30. Zürich: Atlantis, 1980. ISBN 3-7611-0604-1 An exploration of the role of music and musicians in the Art Nouveau movement; identifies themes of the Art Nouveau in the texts set by composers but illustrates the difficulty (if not the impossibility) of finding exact correspondences between the stylistic characteristics of the period in the literary and plastic arts, which are referential, and those of music, which is not. 1123. ——. “Hommage a Blanche Fauré-Fremiet.” Études fauréennes 20–21 (1983–1984): 5–6. A memorial tribute to the widow of Philippe Fauré-Fremiet; until her death on 15 November 1983, she lived in the last apartment where Fauré resided and, like her husband before her, helped to promote Fauré’s music. Nectoux notes that certain personal effects will be housed at the Conservatoire, that Fauré’s manuscripts and archival material will be donated to the Bibliothèque Nationale. See item 1112. 1124. Prod’homme, J.G. “A Musical Map of Paris.” Musical Quarterly 18, no. 4 (October 1932): 608–27. A travelogue of important musical sites in Paris including churches, concert halls, and composers’ dwellings; of historical interest so long as the reader remembers that the topography of Paris has changed considerably since this article was published. 1125. Six, Henri. “Le Festival Fauré à Foix.” Association des amis de Gabriel Fauré: Bulletin 16 (1979): 4. Emphasizes the importance of Fauré’s birthplace as an influence on his music and, thus, provides a justification for the locating of the festival at nearby Foix. 1126. Tarasti, Eero. “‘Après un rêve’: A Semiotic Approach to the Study of Musical Performance.” Chapter 7.2 in A Theory of Musical Semiotics, 193–208. Bloomington: Indiana University Press, 1994. ISBN 0-253-35649-0 Semiotic theory as articulated in Part I of the book is applied to “Après un rêve” Op. 7, No. 1. The author discusses actorial, temporal, and

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spatial categories, inner spatiality, and quantified harmonic tension; combines in his analysis “Meyer’s melodic implication model…with the Greimasian semiotic square”; considers various technical aspects of vocal performance from a semiotic perspective. 1127. Watteville, Charles de. “Le concours Gabriel Fauré.” Association des amis de Gabriel Fauré: Bulletin 16 (1979): 5–6. Lists winners of the competition (which alternated between piano and voice) for various years in the 1960s together with some of the required pieces; winners of the competition appeared at the Fauré festival and the festivals of Strasbourg, Aix-en-Provence, and Besançon. ODDITIES 1128. Berger-Levrault, Mathilde. “Les musicien-compositeurs vus à travers leur écriture: Gabriel Fauré.” Musica (Chaix) 82 (January 1961): 50–51. An analysis of Fauré’s handwriting. 1129. Cruppi, Louise. Avant l’heure. Paris: Société d’éditions littéraires et artistiques, Paul Ollendorff, 1905. 197pp. A novel whose main character is said to have been modelled on Fauré. 1130. Jobbé-Duval, Pierre. “Leurs mains: Gabriel Fauré.” Bulletin SIM, February 1911, 5–6. One of a series of articles documenting the result of an experiment in which a palmist is asked to examine photographs of the hands of famous individuals. NOTES 1

The Bibliothèque Nationale holds the manuscript for this biography (Fonds Conservatoire Rés 2735) which is signed by the author and dated, “16 octobre 1928.” Two brief sections of the first edition, on Fauré’s childhood and on the Requiem, were published in Le monde musical 4, no. 5 (31 May 1929): 168–69. There exists a Japanese translation by Yakata Fujiwara of the second edition, Fauré: sono hito to geijutsu [Fauré: The Man and his Works] (Tokyo: Ongaku-no-tomo, 1972), xxxiv, 244pp.

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2 A Japanese translation has been published with the imprint, Tokyo: Shinhyoron, 1990 (ISBN 4-7948-0079-7). 3 Together with a review of Camille Saint-Saëns and the French Solo Concerto from 1850 to 1920, by Michael Stegemann (item 772); the section devoted to Nectoux’s book begins on page 119. 4 In one case, Orledge criticizes Nectoux for ignoring the key of the manuscript version of “La fée aux chansons” (Op. 27, No. 2) but does not indicate that the manuscript was unknown until this author published his description of it in 1991 (see item 80), after Nectoux’s monograph was in print. 5 Excerpts dealing with Fauré as teacher and as critic are reprinted as “Gabriel Fauré, mon maître,” La revue des deux mondes 11 (1 June 1960): 481–90. 6 See item 771. 7 Although earlier editions of this dictionary do not devote so much space to Fauré, they are worth consulting. The article by Adolphe Jullien (with revisions by Marc Pincherle) in the third edition (1927–1928) offers this insight: “As a composer Fauré constantly progressed with a suppleness of style and an easy mastery of technique which often disguised the almost revolutionary boldness of his harmonies.” The article by Eric Blom in the fifth edition (1954) remains valuable for his pithy characterization of Fauré’s technique and compositional style. 8 As there is no article on Fauré in the third edition of the Musik-Lexikon (Leipzig: Max Hesse, 1887), even this brief mention indicates his growing reputation. 9 Eight typewritten pages included in the Dossier Fauré (Fonds Bibliothèque Nationale Rés Vm dos 28 [11]). 10 Included in the Dossier Fauré (Fonds Bibliothèque Nationale Rés Vm dos 28 [8]). 11 In the collection of the Département de la musique of the Bibliothèque Nationale (Rés Vma 334 (1–4)) are notes and texts for lectures and radio programs by Jane Bathori including one broadcast in 1947 which has the same title and, in part, the same text as this article. The reader may also wish to consult Linda Cuneo-Laurent, “The Performer as Catalyst: the Role of the Singer Jane Bathori (1877–1970) in the Careers of Debussy, Ravel, Les Six, and Contemporaries in Paris, 1904–1926” (Ph.D. dissertation, New York University, 1982). 12 This encyclopedic history is in five volumes which are paginated throughout; chapter 11 is in volume 3. 13 First published in 1933 as Musician’s Gallery. 14 This history was published in a number of editions in a differing number of volumes. By 1955, under the continuing authorship of René Dumesnil, the third section was replaced by two volumes, Courants et tendances au XIXe siècle and L’époque contemporaine in which material on Fauré was relocated; the edition

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of 1958 (item 157) split this latter volume into two, L’aube du XXe siècle (which includes chapters devoted to Fauré) and La première moitié du XXe siècle. 15 The handwritten manuscript in seven folia is included in the Dossier Fauré (Fonds Bibliothèque Nationale Rés Vm dos 28 [7]). 16 The manuscript of this article is held by the Bibliothèque Nationale as Rés Vma ms 924. 17 This journal appeared at different times under different titles including Franco-American Musical Society Bulletin and Pro-musica quarterly. 18 In Michel Augé-Laribé’s André Messager: Musicien du théâtre (Paris: La colombe, 1951), there is also only brief, anecdotal mention of Fauré together with the texts of a few letters. 19 Jérôme Spycket credits Boulanger with introducing Fauré’s compositions to North America; see his Nadia Boulanger (Lausanne: Éditions Payot, 1987. English translation by M.M.Shriver. Stuyvesant: Pendragon, 1992 ISBN 0945193-38-6). For Fauré’s influence on Boulanger, particularly her teaching, see also Alan Kendall’s The Tender Tyrant: Nadia Boulanger, A Life Devoted to Music (Wilton, CT: Lyceum Books, 1977), 90f. 20 See item 80. 21 The funeral oration given by Henri Rabaud together with that of M. Laguillermie, president of the Académie des Beaux-Arts, was reprinted by the Institut de France; a copy exists in the collection of the Bibliothèque de l’Opéra (Paris) with the call number C.7774 (13). 22 An article by Lucien Chevaillier on page 2 of this issue reports a concert conducted by Guy Ropartz in Strasbourg on 5 November the program of which included the Requiem. 23 First published 6 November 1924 in Echo de Paris. 24 Reprinted in Portraits de musiciens (Paris: Plon, 1946), 119–26. 25 This periodical is at times numbered, as here, by year (volume) and issue but elsewhere by volume and issue number within a series; the researcher should thus depend on the date of the issue. 26 Part of an special obituary issue of Le monde musical; see Appendix C. 27 A copy is included in the Dossier Fauré (Fonds Bibliothèque Nationale Rés Vm dos 28 [5]). 28 A copy of this tribute exists in the Bibliothèque Nationale as 8° Vm Pièce 1949; a unpublished version of the same essay is also held in two copies as 8° Vm Pièce 814 and 4° Vm Pièce 500. 29 See Bibliothèque Nationale 4° Vm Pièce 501. 30 This published version is held by the Bibliothèque Nationale (Fonds Bibliothèque Nationale Vmd 1196); another version, a twenty-one page booklet

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entitled “Institut de France—Académic de Beaux-Arts: Notice sur la vie et les œuvres de M.Gabriel Fauré lue dans la séance du 28 mars 1925,” is included in the Dossier Fauré (Fonds Bibliothèque Nationale Rés Vm dos 28 [4]). 31 Probably Louis Aubert—see item 367. 32 While a number of the ideas in this article are those which Vuillermoz— who died in 1960—expressed elsewhere, it is not clear from where it may have been reprinted. 33 A variety of items are included in the Dossier Niedermeyer in the Bibliothèque Nationale (Rés Vm dos 19); see Appendix A. 34 Also published in 1963 in the Nouvelle revue française. 35 Louis Niedermeyer and Joseph Ortigue, Traité théorique et pratique de l’accompagnement du plain-chant (Paris: E.Repos, 1857; 2d printing with slightly different pagination, 1859). A second, revised edition was published in Paris by Heugel in 1876 (Catalog général des livres imprimés dans la Bibliothèque Nationale) or 1878 (National Union Catalog) of which there was an English translation by Wallace Goodrich, Gregorian Accompaniment: A Theoretical and Practical Treatise upon the Accompaniment ofPlainsong (New York: Novello, Ewer, 1905). 36 Gustave Lefèvre, Traité d’harmonie à l’usage des cours de l’École [Niedermeyer]…(Paris: École Niedermeyer: 1889); see also the manuscript notes taken by Eugène Gigout as student in Lefèvre’s harmony class (Fonds Bibliothèque Nationale, Rés Vmc ms 55). Jacques Chailley in his article, “Momigny, Maleden et l’École Niedermeyer” (in Logos musicae: Festschrift für Albert Palm, edited by Rüdiger Görner [Wiesbaden: Franz Steiner Verlag, 1982], 8–18), discusses the influence of Pierre de Maleden and, through him, of Gottfried Weber and perhaps Abbé Vogler upon Lefèvre. Aspects of Lefèvre’s theory may also indicate a connection with Momigny. For further discussion of Momigny, see Rüdiger Görner’s article, “Die Sprache in der Musiktheorie Jérôme-Joseph De Momignys,” also published in the Palm festschrift (100–9), as well as another article by Chailley, “Un grand théoricien belge méconnu de la musique: Jérôme-Joseph De Momigny (1762– 1842),” Bulletin de la classe des beaux-arts (Académie royale de Belgique) 48 (1966):80–98. 37 The pagination in columns may indicate that this article is reprinted from La maîtrise (see item 273). 38 Included, as well, are “Louis Niedermeyer,” a sympathetic, non-critical biographical article by F.de Ménil (43–50), and an article by Niedermeyer reprinted from the first issue of La maîtrise (50–51). 39 Although this article is not signed, it is attributed to Lalo in the bibliography of item 316.

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40 A brief notice of Fauré’s appointment as director which expressed the hope that the duties of the new office would not paralyze his artistic life appeared on p. 152 of Le monde musical 17, no. 11 (15 June 1905); it was signed only “A.M.”, but given Mangeot’s later comments, it is likely he was the author. 41 Marnold also published a two-part article, “Revue de la quinzaine: La scandale du Prix de Rome” (Le mercure musical 1, nos. 3 & 4 [15 June & 1 July 1905]: 129–33, 178–79), and a further article, “Revue de la quinzaine: Basiliana (Le mercure musical 1, no. 5 [15 July 1905]: 228–29), which form an aggressive attack on Paladilhe, a member of the Institut and the jury for the Prix de Rome, whom Marnold portrays as a corrupt hack. 42 Christian Goubault, La critique musicale dans la presse française de 1870 à 1914 (Geneva: Éditions Slatkine, 1984), 87 n. 3. 43 From the author’s abstract. 44 From the author’s abstract. 45 From the author’s abstract. 46 This article is reworked as part of “Musiques, salons 1900,” Chapter 6 of item 48, 194–219. 47 Reprinted in Italian; see item 333. 48 From the author’s abstract. 49 Reprinted in Albeit Roussel, Lettres et écrits, edited by Nicole Labelle (Paris: Flammarion, 1987), 238–42. 50 See Gavoty’s article, “L’homme aux deux visages,” Journal des Je-unesses musicales françaises, 4 October 1950. 51 Roy quotes from Honegger’s Je suis compositeur (item 506). 52 From the author’s abstract. 53 From the author’s abstract. 54 See (130) the program for a concert given 4 March 1892 which included Nos. 1, 2, 4, and 5 of Op. 58. 55 For instance, the author suggests that Foix may be the remnant of an ancient Greek colony. 56 From the author’s abstract. 57 From the author’s abstract. 58 This article is preceded by five lines of tribute written by Camille Mauclair. 59 First presented as a lecture to the Société des conferences on 20 February 1925; Bellaigue’s manuscript is held by the Département de la musique, Bibliothèque Nationale as Rés Vmc ms 110. 60 The other two lectures in the series are devoted to Debussy (Les préludes) and Stravinsky. 61 Curiously, in spite of having identified Debussy (and Ravel) with the antithesis of pure music, with “une conception tout extérieur de la musique”

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(491), Carraud makes the comment that “M.Gabriel Fauré est certainement aux origines du debussysme” (492, n. 1). 62 The first part was devoted to Ernest Chausson and was published in the previous issue of Le ménestrel (2 April 1920). 63 First published as a periodical article in Listen 6, no. 1 (May 1945): 8–12. 64 But see items 96/101, 536, and 537. 65 This little article is one of a number of contributions by Cheiner to this issue of Heterofonía which are grouped in the table of contents as “Ravel— Fauré—Glazunov.” 66 The author makes reference to an earlier article in which he discussed the Second Violin Sonata and the First Violoncello Sonata; not located. 67 Fauré is mentioned elsewhere in this volume, as well. 68 First published, Revue hebdomadaire, June 1892. 69 Chapter 10 of the first section begins volume 2. 70 Discusses Roger-Ducasse, Bertelin, N.Boulanger, Kœchlin, Ladmirault, Aubert, Vuillemin, Gaubert, Inghelbrecht, Grovlez, Caplet; refers to Fauré’s influence on other composers, passim. 71 Gauthier-Villars mentions Fauré and his compositions (particularly the songs) favorably numerous times in his writings which are better described as concert commentaries than reviews. They are collected in several books: Lettres de l’ouvreuse: Voyage autour de la musique (Paris: Vanier, 1890), Bains de sons (Paris: Simonis Empis, 1893), La mouche des croches (Paris: Fischbacher, 1894), Entre deux airs (Paris: Flammarion, 1895), Notes sans portées (Paris: Flammarion, 1896), Accords perdus (Paris: Simonis Empis, 1898), La colle aux quintes (Paris: Simonis Empis, 1899), Garçon l’audition (Paris: Simonis Empis, 1901), La Ronde des blanches (Paris: Molière, 1901). 72 Pierre Barbaud, La musique, discipline scientifique: Introduction élémentaire à l’étude des structures musicales (Paris: Dunod, 1968). 73 First edition, London: John Calder, 1960. 74 An announcement of the publication of the book, supported by the Société des amis de Gabriel Fauré, is included in the Dossier Fauré (Fonds Bibliothèque Nationale Rés Vm dos 28 [6]). 75 See, in this regard: Pierre Trotignon, Les philosophes français d’aujourd’hui (Paris: Presses Universitaire de France, 1970), 88–93; Colin Smith, “Vladimir Jankélévitch,” Encyclopedia of Philosophy (New York: Macmillan, 1967), 3:249f. 76 For example, of the Cinq mélodies Op. 58, Jankélévitch writes (112): “Le thème «de Venise»…est plus léger qu’un nuage, plus rapide qu’une pensée, plus fugatif que l’haleine d’une femme inconnue….” 77 Nectoux’s major work on Fauré (items 96/101) is dedicated to the memory of Jankélévitch.

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78 Longyear states that “to many writers [Fauré] is no Romantic at all”; such is indeed the case with Alfred Einstein (Music in the Romantic Era [New York: Norton, 1947]) and Friedrich Blume (Classic and Romantic Music: A Comprehensive Survey, translated by M.D.Herter Norton [New York: Norton, 1970]; originally published in Die Musik in Geschichte und Gegenwart [Kassel: Bärenreiter, 1958, 1963]). 79 For Fauré’s influence on Boulanger, see item 187. 80 This item is included in the Dossier Fauré (Fonds Bibliothèque Nationale Rés Vm dos 28 [10]). Attached there is the indication that the article has been prepared for a “revue de Lisbonne” and will be also published in Canada in a collection devoted to French music; neither publication has been located. 81 This book was originally published as Part IV, “Romanticism and the 20th Century,” in Alec Harman, Anthony Milner, and Wilfrid Mellers, Man and His Music: The Story of Musical Experience in the West (London: Barrie and Rockliff, 1962). 82 See also Martha E.Stonequist, “The Musical Entente Cordiale: 1905– 1916” (Ph.D. dissertation, University of Colorado, 1972), which documents the activities of La société des concerts français, a British organization which sponsored concerts of contemporary French music. 83 In later publications as Marie-Claire Beltrando-Patier. 84 This script is included in the Dossier Fauré (Fonds Bibliothèque Nationale Rés Vm dos 28 [9]). 85 Also published in German as Gabriel Fauré und sein Werk, translated by Alfred Brockhaus (Lindau im Bodensee: Frisch & Perneder, 1950). 86 The reference in the text to Fauré’s “first string quartet” is almost certainly a translator’s error. 87 Originally published as The Banquet Years: The Arts in France, 1885–1918, Alfred Jarry, Henri Rousseau, Erik Satie, Guillaume Apollinaire (New York: Doubleday, 1958); revised edition first published 1969 in Great Britain. 88 In this article, Suckling makes reference to an article on Fauré by Louis Aguettant published in the Revue fédéraliste; the periodical could not be identified. 89 From the author’s abstract. 90 Ulrich did not, however, consider Fauré significant enough to mention in a text designed for music appreciation courses, Music: A Design for Listening (2d ed. New York: Harcourt Brace, 1962). 91 An unidentified press cutting in Bibliothèque de l’Opéra Rés A843b (see Appendix A) entitled “Portraits et silhouettes: Gabriel Fauré” and signed with the initials, L.V, announces Fauré’s being promoted to the rank of Commandeur de la Légion d’honneur which occurred in December 1910.

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92 This work appeared in a number of later editions published by Fayard including one in 1956 and another “complétée” by Jacques Lonchampt in 1973; the chapter on Fauré remained unaltered. 93 See, for example, item 494. 94 From the author’s abstract. 95 From the author’s abstract. 96 From the author’s abstract. 97 From the author’s abstract. 98 From the author’s abstract. 99 From the author’s abstract. 100 My translation. 101 Chailley also authored “La révision de la notion traditionelle de tonalité” (Bericht über den siebenten internationalen musikwissenschaftlichen Kongress Köln 1958 [Kassel: Bärenreiter, 1959], 332–34), a report of a discussion session held at the conference; no mention is made of Fauré. 102 The Département de la musique, Bibliothèque Nationale, has in its collection (Vmb ms 162) Dommel-Diény’s manuscript of an unpublished article, “L’andante de la lère Sonate op. 13 (1875) pour piano et violon de Gabriel Fauré,” which was probably intended as part of Fascicule 14. The article is a thematic analysis of the movement which is, in the author’s view, in classical sonata form; it presents a key analysis of the development and also focuses on certain details of rhythm and harmony. 103 La revue musicale, 272–73; originally the author’s thèse de doctoral de l’université, the Sorbonnne, 1954. 104 Gut cites Françoise Gervais (item 524), Marie-Claire Beltrando-Patier (item 555), and Jacques Chailley. 105 Kœchlin also contributed the technical article, “Évolution de l’harmonie— période contemporaine, depuis Bizet and C.Franck jusqu’à nos jours,” to the same reference work (Part 2, 2:591–760). Here Fauré’s music is, like that of other composers, used simply to provide appropriate examples of innovations in harmony and counterpoint. 106 Including, perhaps, remarks in the same periodical by Fred Goldbeck (no. 646) and Roger Delage (no. 653). 107 From the author’s abstract. 108 From the author’s abstract; based in part on the author’s “A Theory of Associative Harmony for Tonal Music” (Ph.D. dissertation, University of Wisconsin-Madison, 1985). 109 This item was the author’s Ph.D. dissertation, University of St. Andrews, 1984. 110 Deryck Cooke, The Language of Music (Oxford: Oxford University Press, 1959).

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111 Given Tait’s view that theory has suffered from an “Austro-Germanic stranglehold” (17), it is odd that he makes use of Roman numeral analysis which has its roots in the same culture. 112 The notices to other programs in the collection are edited by Charles Malherbe. 113 Note, however, Croiza’s own performance markings in her manuscript copy of Le jardin clos, now Fonds Bibliothèque Nationale MS 19913. 114 But see item 566. 115 Beltrando-Patier points out that Lefèvre’s harmony treatise did not appear until 1889 and that Fauré had finished his training at the Niedermeyer school before Lefèvre began teaching there; however, before dismissing entirely the influence of Lefèvre, the reader may wish to consider the notes taken by Fauré’s lifelong friend, Eugène Gigout, in Lefèvre’s harmony class which parallel closely the treatise published twenty years later. (The notes are preserved in the Département de la musique of the Bibliothèque Nationale as Rés Vmc ms 55.) 116 Papers from the Third International Symposium of the International Musicological Society held in Adelaide, 23–30 September 1979. 117 “The official magazine of the National Association of Teachers of Singing”; with vol 42, no. 1 (September-October 1985), this journal became The NATS Journal. 118 Interestingly, a style of playing advocated by Nadia Boulanger, a pupil of Fauré, for the performance of Chopin with whom Fauré is often compared. 119 In the time since this article’s publication, the situation regarding manuscript sources for the pieces cited has changed: a manuscript for Op. 5, No. 2 does exist (the Beinecke Library, Yale University), and there are three sources for Op. 106 (two in the Bibliothèque Nationale and one at the University of Texas); see Chapter 3. 120 Not seen; description and quotation from the abstract in RILM (vol. 27, 1993) by Irena Czarnecka. 121 From the author’s abstract. 122 From the author’s abstract. 123 Too occupied to write the article intended, Ravel spoke informally with Roland-Manuel who transcribed his comments for the La revue musicale. 124 Reprinted in Italian; see item 333. 125 The second collection in an early incarnation included twenty-five songs some of which were later moved to the third collection. 126 Not completely accurately; see rather items 96/101. 127 This obscure periodical is held by the Bibliothèque Nationale; page numbers for this item are unavailable, but it appears to be part of a supplement to the issue cited.

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128 Georges Favre authored a later volume with a title similar enough to be confusing: Musiciens français contemporains: Essai d’initiation par le disque (Paris: Durand, 1956). 129 A collection of reviews which the author originally contributed to the Courrier musical. 130 This remark is curious given that Jaques-Dalcroze studied not only with Fauré but also with Bruckner. 131 “C’est l’enchaînement étrange de l’accord de sol majeur avec la septième mineure: sol-sib-ré-fa.” [My italics.] 132 This periodical, published by the Société internationale de musique, changed title several times (see Goubault, La critique musicale, 80) before merging with the La revue musicale (Combarieu) in 1912 and becoming Revue musicale S.I.M. 133 Nectoux gives the date of the concert as 9 March 1912 (item 101:519). 134 See also the author’s “The Effect of Structure upon the Performance Interpretation of La chanson d’Eve by Gabriel Fauré” (D.Mus. dissertation, Indiana University, 1984). 135 A supplement to the Gazette des beaux-arts. 136 Also interesting are Kœchlin’s comments about Kodály’s music and its reception. 137 Date after Nectoux (item 101:519). 138 From the author’s abstract. 139 This is also the title of a collection of essays by Barthes (Paris: Éditions du seuil, 1981) which do not deal with music. 140 Elsewhere Barthes reiterates the importance of these three composers to the mélodie: see “La musique, la voix, la langue,” L’obvie et l’obtus, 245–52; originally a lecture delivered in Rome, 20 May 1977, and published (minus the final half-paragraph) in Italian in Nuova rivista musicale italiana 12, no. 3 (JulySeptember, 1978), 362–66. 141 This article criticizes Dietrich Fischer-Dieskau; for a criticism of Gérard Souzay (without any mention of Fauré’s music), see Barthes’s “L’art vocal bourgeois” in Mythologies (Paris: Éditions du seuil, 1957), 189–91. By contrast, in “La musique, la voix, la langue,” Barthes expresses a favorable opinion of Charles Panzéra’s treatment of French mélodie. 142 Analytical descriptions of settings by Fauré and Debussy of two of the poems, “Clair de lune” and “En sourdine,” are provided in an appendix to the volume. 143 From the author’s abstract. 144 Also on the journal’s title page: “40e Année—2me Semestre.” 145 Donald N.Ferguson, Music as Metaphor: The Elements of Expression (Minneapolis: University of Minnesota Press, 1960); Porter indicates elsewhere

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(item 681) that Ferguson’s ideas are an extension of the theories of Hermann L. G.Helmholtz (On the Sensations of Tone as a Physiological Basis for the Theory of Music) and Leonard Meyer (Emotion and Meaning in Music). 146 Drawn from the author’s dissertation, “Verlaine et la musique: Les mélodies sur des textes de Verlaine des compositeurs européens, particulièrement Fauré et Debussy” (Rijksuniversiteit te Gent, n.d.). 147 According to Nectoux (items 96:560/101:598), this piece was expanded and published as a brochure in Paris by Schott (1888); not located. 148 Manuscript, Bibliothèque Nationale Rés Vmb ms 42, of 2 folia written on recto and verso; there are also two pages of notes for the lecture (one folio written on recto and verso) as well as a smaller folio of notes not used (written on recto only). On yet another folio (written on recto only) is a “chronicle of musical events” for Fauré’s incidental music to Shakespeare’s The Merchant of Venice (without reference to the eventual title, Shylock). 149 The Revue d’histoire et de critique musicales, edited by J.Combarieu, was published 1901–1912; after 1902, it was retitled Revue musicale, but it is not to be confused with the better-known journal of the same title (1920–1990) first edited by H.Prunières. 150 Fauré, Gabriel. Requiem (1893 version) with the composer’s original chamber instrumentation. Edited by John Rutter. Oxford: Oxford University Press, 1984. ISBN 0-19-336102-7 Review: John Wagstaff. Brio 26, no. 1 (Spring/Summer 1989): 54–55. The reviewer challenges Rutter on certain historical details and objects to awkward sections of the English text; he says almost nothing about the editing of the music. Review: Richard Langham Smith. Music & Letters 71, no. 1 (February 1990): 143–144. A review which is harshly critical of Rutter’s scholarship and the resulting errors in editing and in suggestions for performance. 151 This article is among those not included in the English translation by Edwin Gile Rich, Musical Memories (Boston: Small, Maynard & Co., 1919); reprint, New York: Da Capo, 1969. 152 From the author’s English-language summary. 153 Originally published in Le ménestrel, 11 April 1924, 167–68. 154 From the author’s abstract and from notes supplied by Carlo Caballero. 155 Not the harpsichordist, Wanda Landowska, as is sometimes believed. 156 See Janine Weill, Marguerite Long: Une vie fascinante (Paris: Julliard, 1969), 246pp., and its translation into Japanese by Yoshiko Arai, Marguerite Long: miwaku-teki na shôgai (Tokyo: Ongaku-no-tomo-sha, 1974), 290pp. See also Cecilia Dunoyer, “Marguerite Long, the Image of an Epoch” (D.M.A. dissertation, University of Maryland, 1990), and the same author’s Marguerite Long: A Life in French Music, 1874–1966 (Bloomington: Indiana

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University Press, 1993) and its French translation, Marguerite Long (1874– 1966): Un siècle de vie musicale française (Paris: Findakly, 1993). 157 Reprints bearing the imprint of Gérard Billaudot omit the plates in the first printing as does the English translation (item 747). 158 From the author’s abstract. 159 The article is signed, “J.Saint-Jean,” but the pseudonym is misprinted, “E.Saint-Jean,” at the beginning of the article. 160 From the author’s abstract. 161 From the author’s abstract. 162 Auclert also reports (5) a discussion between Fauré and Roger-Ducasse about a detail of the orchestration of Prométhée. 163 From the author’s abstract. 164 The article is signed “Willy-Breville.” 165 Nectoux gives the date as 30 April 1898 (item 101:513). 166 The manuscript of Rabaud’s orchestration is held by the Bibliothèque Nationale as Fonds Conservatoire MS 9008. 167 Originally published as Die Musik des 19. Jahrhunderts, Vol. 6 of Neues Handbuch der Musikwissenschaft (Wiesbaden: Akademische Verlagsgesellschaft Athenaion, 1980). 168 From the author’s abstract. 169 From the author’s abstract. 170 From the author’s abstract. 171 From the author’s abstract. 172 Other authors point out the use in the first movement of themes from the unpublished Violin Concerto Op. 14. 173 Speranza also cites a negative assessment of Op. 121 by Mario Bortolotto in his book, Dopo una battaglia (Milano: Adelphi, 1992). 174 Both in the Bibliothèque Nationale as MS 17771 and Fonds Conservatoire MS 417, respectively. 175 Vuillermoz also wrote the introduction for the volume in which Fauré’s contribution to stage music are briefly mentioned and the lack of attention paid to Pénélope deplored (13–14). 176 Mrs. Campbell’s biographer, Alan Dent, was not so enthusiastic about Fauré’s music for the play as was the actress herself: “The distinguished French composer, Gabriel Fauré, composed some misty-moisty music for this the first English production of the play….” (Mrs. Patrick Campbell [London: Museum Press, 1961], 148.) 177 Page numbers are from the 1969 reissue of the book in 384 pages. 178 Seen in offprint; pagination in original may differ. 179 Cited as Yves Jandet in items 96/101. 180 A supplement to the Gazette des beaux-arts.

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181 Listed as anonymous because the photocopy made available to me did not include the author’s name; my apologies to him or her. 182 By Paul Labordère, 14 (30 July 1900): 231–32. 183 First published, Revue hebdomadaire, 6 October 1900, 131–37. 184 A copy of this article in the Dossier Prométhée (Bibliothèque de l’Opéra) is wrongly dated, 30 October 1900; reprinted as Part I of “Le théâtre de Gabriel Fauré” in Lalo’s De Rameau a Ravel: Portraits et souvenirs (Paris: Albin Michel, 1947), 350–56. 185 Lalo’s column in Le temps of 28 May 1917 is cited in some bibliographies, but the only reference there to Prométhée is to announce the work as the topic of the next column of 11 June here cited. 186 Seen in the half-manuscript, half-printed version in the Dossier Prométhée (Bibliothèque de l’Opéra). 187 See item 101:146f. 188 From the author’s abstract. 189 First published, Le quotidien, April 1923; also published, minus the last few paragraphs dealing with the specific performance, in Paul Dukas, Chroniques musicales sur deux siècles, 1892–1932, 136–38 (Paris: Éditions SEFI, 1948; reprinted Éditions Stock, 1980, ISBN 2-234-01194-9). 190 Elsewhere in the book (266), however, the author lists Fauré among the “Anhänger” of Debussy in the formation of the S.M.I. 191 “Der Kritiker begrüßte Pénélope, weil sie antimodern war, sich von der impressionistisch-fortschrittlichen Richtung distanzierte und weil er echte musialische Qualitäten in ihr entdeckte” (282). 192 The nephew of the composer, according to Adolphe Aderer (item 990). 193 It is not clear where Lalo expressed his views; the essay is not included in his collection De Rameau à Ravel: Portraits et souvenirs (Paris: Albin Michel, 1947). 194 From the author’s abstract. 195 Another memoir by the same author and having a similar title makes no mention of Fauré: Le chef d’orchestre et son équipe (Paris: René Julliard, 1949); translated by G.Prerauer and S.Malcolm Kird as The Conductor’s World (London: P.Nevill, 1953; reprinted Westport: Hyperion Press, 1979, ISBN 088355-747-9). 196 Jullien’s obvious interest in opera—see his Musiciens d’aujourd’hui (Paris: Librairie de l’art, 1892)—may explain both his critical stance in this review and the fact that Fauré is not mentioned in another collection of essays, Musiciens d’hier et d’aujourd’hui (Paris: Fischbacher, 1910). 197 Reprinted as Part II of “Le théâtre de Gabriel Fauré” in Lalo’s De Rameau à Ravel: Portraits et souvenirs (Paris: Albin Michel, 1947), 356–61. 198 There are several short articles on Pénélope by Linor in the collection Rés A843b of the Bibliothèque de l’Opéra (see Appendix A); the newspaper is not

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identified, but the articles come from the 1913–1914 season and continue to praise the work while evaluating changes in the cast. 199 Liner notes by Jean-Michel Nectoux. 200 This item was found only as one of the unidentified press cuttings held by the Bibliothèque de l’Opéra as part of Rés A843b (see Appendix A). The article was in several irregular pieces with no indication of author or pagination; it was identified by its title and the paper stock. 201 A press cutting in Bibliothèque de l’Opéra Rés A843b (see Appendix A) is a partial reprint of this article in what appears to be, given the typeface and the paper, the Revue de la Riviera. 202 Nectoux gives 16 April 1923 as the date of the opening night of this revival production (item 101:524). 203 Although this author is probably the same person as Raymond Charpentier (item 976), the source gives the two names hyphenated as a surname. 204 Rivière does appreciate other compositions by Fauré; in a conceit review in Le mercure musical (2, no. 9 [1 May 1906]: 430–33), he praises the “Elégie” and the song, “Clair de lune.” 205 From Carraud? See item 1010. 206 Reinach published subsequent (and similar) articles on the same topic: “Une page de musique grecque,” La revue de Paris 1, no. 10 (15 June 1894): 204–24; La musique grecque et l’hymne à Apollon: Conference faite à l’Association pour l’encouragement des études grecques (Paris: Ernest Leroux, 1894), a pamphlet offprint from La revue des études grecques, June 1894. The lecture was followed by a performance of the “Hymn to Apollo” in Fauré’s arrangement with the composer at the piano. 207 The catalog was translated into Portuguese for a mounting of the exhibition in Lisbon at the Gulbenkian Foundation; books and scores pertaining to Fauré held by the library of the foundation are listed at the end of the catalog. Added to the exhibition was Fauré’s last letter to his wife instruction her to help burn his sketches. A very short article by Fernanda Maria Cidrais, “Gabriel Fauré” (Colóquio artes 17 [April 1974]: 69), describes and welcomes the exhibition which, according to the author, succeeds in evoking not only Fauré, the person and the composer, but also his milieu. 208 Dated according to item 1110:14 which also identifies the work as a reprint first published in three issues of Disques in May, July-August, and September of 1937. 209 Reprinted in Italian; see item 333.

CHAPTER 5

Afterword— Directions for Research

In the time since Fauré’s death, his music has suffered much the same fate it did during his lifetime: the best-known of his pieces were not often his most significant works—these were appreciated by a small elite who were ready to make the necessary effort to understand a style that does not open itself to the listener easily and who were rewarded by a deeper understanding of elegant, refined works of art. Further, the neglect offered Fauré’s compositions by performers and audiences has been reflected in his dismissal by music historians as a creator of pleasant salon music which had little if any effect on the course of music history in France and certainly none in the wider realm of twentiethcentury music. Happily there have always been admirers of Fauré and his music who have determined that neither would sink into complete obscurity. Vladimir Jankélévitch’s writings have been important in this regard, and Jean-Michel Nectoux has almost single-handedly created rigorous musicological scholarship in Fauré, lifting the history of his career and criticism of his work far above the enthusiastic but often merely descriptive writing about Fauré which was usual during and immediately after his lifetime. Two collections of essays, Gabriel Fauré: Werk und Rezeption and Regarding Fauré,1 both the result of conferences which commemorated the Fauré year, 1995, build on Nectoux’s foundation. There is growing scholarly interest in lesser-known works, especially those from the last part of Fauré’s life—and systematic analysis replaces facile description. The result of a clearer understanding of Fauré’s music will be a greater 401

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appreciation of it, certainly, but almost more significant, Fauré’s importance to the development of twentieth-century music in France, both through his teaching and through the direct influence of his compositions, will become apparent. The music of Fauré is a field that is wide open to research—in history, manuscript study, structural analysis, style analysis, performance practice, reception, aesthetics—and one that deserves to be rescued from the neglect it has suffered for so long. NOTES 1

See Appendix C.

APPENDIX A

Collected Source Materials

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Collected Source Materials

405

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Gabriel Fauré: A Guide to Research

Rés A843b Pénélope A piano-vocal score of the first edition, once belonging to Prudent de Ladrière. Together with the score are a collection of posters, programs, autographs, photographs of costumes and set designs, and numerous press cuttings of articles some of which are annotated above in the section of Chapter 4 dealing with the opera. BIBLIOTHEQUE DE L’ARSENAL The holdings of the Bibliothèque de l’Arsenal are being amalgamated with those of the Bibliothèque Nationale. The following materials may be difficult to locate for a period of time. The items below are boxes of programs, press cuttings—most of which are unidentifiable—and other materials relating to particular works or theaters. RF 58384

Pénélope

RT 2911

Théâtre des Champs-Élysées

APPENDIX B

Contents of Association des amis de Gabriel Fauré: Bulletin and Études fauréennes

Numbers in parentheses indicate an item’s location in the bibliography. ASSOCIATION DES AMIS DE GABRIEL FAURÉ: BULLETIN Nos. 1–8, 1964–1971 A newsletter reporting the activities of the society, Les amis de Gabriel Fauré.1 No. 9, 1972 [Nectoux, Jean-Michel]. “Emmanuel Fauré-Fremiet (1883– 1971), In memoriam.” ——, ed. “Cinq lettres inédites de Gabriel Fauré à son fils Emmanuel.” (67) ——. “Entretien avec Emmanuel Fauré-Fremiet…les 14 janvier et 11 février 1971.” (163) [——]. “Discographie fauréenne 1971.” [——]. “Annonces/informations.” No. 10, 1973 Fauré-Fremiet, Philippe. “La chanson d’Eve de Van LerbergheFauré.”(631) Auclert, Pierre. “A propos de deux malentendus: Brahms et Fauré.”(321) 407

408

Gabriel Fauré: A Guide to Research Nectoux, Jean-Michel. “Shylock, comédie en 3 actes de Edmond Haraucourt (d’après Shakespeare), musique de Gabriel Fauré.” (889) [——]. “Discographie fauréenne 1972.” ——. “Nouvelles et annonces; informations.”

No. 11, 1974 Nectoux, Jean-Michel. “Autour de quelques lettres inédites de Robert de Montesquiou, Charles Kœchlin et Gabriel Fauré.” (68) Fauré-Fremiet, Philippe. “La genèse de Pénélope.” (1028) Nectoux, Jean-Michel. “Discographie fauréenne 1973; disques annonces.” [——]. “Manifestations du cinquantenaire.” [——]. “Informations.” No. 12, 1975 Gervais, Françoise. “Cinquantenaire 1924–1974.” (410) Solliers, Jean de. “Les neuf Préludes Op. 103.” (789) Nectoux, Jean-Michel, ed. “Textes retrouvés: Un entretien avec Gabriel Fauré.” (29) [——]. “Discographie fauréenne 1974/rééditions/disques annoncés.” [——]. “Informations.” No. 13, 1976 Patier, Marie-Claire. “Fauré et le wagnérisme.” (457) Orledge, Robert. “Fauré en Angleterre.” (453) Nectoux, Jean-Michel. “Inédits: Deux lettres de Gabriel Fauré à Emmanuel Chabrier.” (69) ——. “Discographie fauréenne 1975.” ——. “Bibliographie des travaux universitaires consacrés à Gabriel Fauré.” No. 14, 1977 Nectoux, Jean-Michel. “Fauré vu de l’étranger.” (451) Siguitov, Serge. “Fauré en Russie.” (474) Jarocinski, Stefan. “Fauré en Pologne.” (433)

Contents of Association des amis de Gabriel Fauré

409

Amerongen, Alex van. “Fauré aux Pays-has.” (365) [Nectoux, Jean-Michel]. “Disques récents.” [——]. “Nouvelles.” No. 15, 1978 Auclert, Pierre. “La ‘Ballade’ Op. 19 de Fauré.” (766) Gervais, Françoise. “Gabriel Fauré traditionaliste novateur.” (411) Nectoux, Jean-Michel. “Disques récents.” [——]. “Nouvelles.” ——. “Bibliographie des travaux universitaires consacrés à Gabriel Fauré (II).” No. 16, 1979 Six, Henri. “Le Festival Fauré à Foix.” (1125) Watteville, Charles de. “Le Concours Gabriel Fauré.” (1127) Nectoux, Jean-Michel, ed. “Charles Kœchlin et Henri Büsser témoins du Prométhée de Fauré aux arènes de Béziers.” (960) [——]. “Nouvelles.” [——]. “Nouveaux disques.” ETUDES FAUREENNES The journal changes its title but maintains its numbering of volumes. No. 17, 1980 Nectoux, Jean-Michel, ed. “Hommage a Nadia Boulanger.” (149) Berthoud, Guy R. “En souvenir de Nadia Boulanger.” Solliers, Jean de. “Fauré et le piano.” (761) Nectoux, Jean-Michel. “Fauré, Henry Prunières et La revue musicale.” (188) Gervais, Françoise. “Le rythme harmonique de Gabriel Fauré.” (526) Nectoux, Jean-Michel. “Nouveaux disques; disques annonces.” [——]. “Nouvelles.”

410

Gabriel Fauré: A Guide to Research

No. 18, 1981 Nectoux, Jean-Michel. “Deux interprètes de Fauré: Émilie et Edouard Risler.”(189) Pési, Jacques. “L’esthétique de «pureté» chez Fauré.” (349) Nectoux, Jean-Michel. “Nouveaux disques; disques annoncés.” [——]. “Nouvelles.” No. 19, 1982 Aguettant, Louis. “Rencontres avec Gabriel Fauré.” (137) McKay, James. “Le ‘Trio’ Op. 120 de Fauré: Une esquisse inconnue du troisième mouvement.” (86) Nectoux, Jean-Michel. “Nouveaux disques.” [——]. “Nouvelles.” Nos. 20–21, 1983–1984 Nectoux, Jean-Michel. “Hommage à Blanche Fauré-Fremiet.” (1123) Desbruères, Michel. “Le Prométhée de Jean Lorrain et AndréFerdinand Hérold.” (934) Daitz, Mimi S. “Les manuscrits et les premières editions des mélodies de Fauré: Étude préliminaire.” (566) Woldu, Gail Hilson. “L’enseignement de Gabriel Fauré au Conservatoire.” (317) Tait, Robin C. “Le quatuor à cordes de Fauré.” (865) [Nectoux, Jean-Michel]. “Disques récents; disques annoncés. [——]. “Nouvelles.” [——]. “Travaux universitaires.” NOTES 1

The Département de la musique, Bibliothèque Nationale, holds a copy of a printed letter from 1938 soliciting membership in the first incarnation of this society (Vmb 1741).

APPENDIX C

Collections of Essays, Special Issues of Periodicals

Numbers in parentheses indicate an item’s location in the bibliography. Musica 77 (February 1909). 1. 2. 3. 4. 5. 6.

Carraud, Gaston. “L’âme harmonique de Gabriel Fauré.” (518) Brussel, Robert. “Les ‘lieder’ de Fauré.” (564) Vuillermoz, Émile. “La musique de chambre de Gabriel Fauré.” (827) Saint-Jean, J. [Joseph de Marliave]. “La musique de piano de Gabriel Fauré.” (758) Pioch, Georges. “L’oeuvre dramatique de Gabriel Fauré.” (881) Torchet, Julien. “La vie de Gabriel Fauré.” (200)

La revue musicale 4, no. 11 (October 1922). 1. 2. 3. 4. 5. 6. 7. 8. 9.

Fauré, Gabriel. “Souvenirs.” (42) Vuillermoz, Émile. “Gabriel Fauré.” (494) Ravel, Maurice. “Les melodies de Gabriel Fauré.” (596) Chalupt, René. “Gabriel Fauré et les poètes.” (653) Kœchlin, Charles. “Le théâtre.” (877) Schmitt, Florent. “Les œuvres d’orchestre.” (866) Roger-Ducasse, [Jean]. “La musique de chambre.” (818) Cortot, Alfred. “La musique de piano.” (728) Boulanger, Nadia. “La musique religieuse.” (687) 411

412

Gabriel Fauré: A Guide to Research

The issue adds a list of Fauré’s compositions and, as a supplement, seven pieces for piano based on the name, Fauré, by Louis Aubert, Georges Enesco, Charles Kœchlin, Paul Ladmirault, Maurice Ravel, Jean Roger-Ducasse, and Florent Schmitt. Le monde musical nos. 21–22 (November 1924); special obituary issue. 1. 2.

3.

4.

5. 6.

7.

Mangeot, André. “Gabriel Fauré.” (230) “Hommages à Gabriel Fauré”: tributes by Cools, Boulanger, Dukas, Roussel, and Aubert reprinted from Comœdia (205) and by Vuillermoz from Excelsior (242). “Les obsèques nationales de G.Fauré”: brief description of the funeral; speeches offered by François Albert, Paul Vidal, Henri Rabaud, Nadia Boulanger. See similar articles in Comœdia (206) and Excelsior (207). Facsimile of the first page of the manuscript of Fauré’s early Prélude then held in the collection of Laurent Ceillier. Cools, Denise. “A la mémoire de Gabriel Fauré [original poem].” “Gabriel Fauré, critique musical”: several of Fauré’s pieces of criticism reprinted from Le figaro. List of Fauré’s compositions. Photograph of Mangeot at the organ of the Eglise de la Madeleine, 1902.

Le centenaire de Gabriel Fauré. Paris: Éditions de La revue musicale, 1945. 1. 2. 3.

Fauré-Fremiet, Philippe. “La genèse de Pénélope.” (1028) Dumesnil, René. “Le centenaire de Gabriel Fauré.” (404) Jean-Aubry, G. “Gabriel Fauré, Paul Verlaine et Albert Samain, ou les tribulations de ‘Bouddha’.” (1101)

Monthly Musical Record 75 (May 1945). 1. 2.

[?]. “Notes of the Day.” (362) Cooper, Martin. “Some Aspects of Fauré’s Technique.” (521)

Collections of Essays, Special Issues of Periodicals 3. 4.

413

Lockspeiser, Edward. “Fauré and the Song.” (578) Suckling, Norman. “The Unknown Fauré.” (882)

Gabriel Fauré. Paris: Les publications techniques et artistiques, 1946. 1. 2. 3. 4. 5. 6. 7.

Malherbe, Henry. “La génie de Fauré.” (442) Fauré-Fremiet, Philippe. “La pensée fauréenne.” (347) Roger-Ducasse, [Jean]. “L’enseignement de G.Fauré.” (310) Thibaud, Jacques. “La musique de chambre.” (823) Beydts, Louis. “Les melodies.” (561) Pioch, Georges. “L’homme.” (193) P[ioch], G[eorge]. “Gabriel Fauré et le disque.” (1111)

Feuilles musicales (Lausanne) 7, nos. 4–5 (May-June, 1954). 1. 2. 3. 4.

Cortot, Alfred. “Gabriel Fauré et la Suisse.” (353) Jourdan-Morhange, Hélène. “Gabriel Fauré intime.” (175) Perrin, Maurice. “Notes sur Gabriel Fauré.” (191) Favre, Max. “L’évolution du style de Fauré dans les œuvres de musique de chambre.” (801)

L’éducation musicale 9, no. 9 (June 1954). 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Schmitt, Florent. “Un jugement de Florent Schmitt sur Gabriel Fauré.” (240) Busser, Henri. “Gabriel Fauré.” (150) Chailley, J. “Notes sur la modalité chez G.Fauré.” (519) Favre, Georges. “Gabriel Fauré et le théâtre lyrique.” (876) Pittion, Paul. “Pourquoi Gabriel Fauré demeure-t-il incompris.” (459) Rollin, J. “Musique de chambre de Gabriel Fauré.” (819) Gabeaud, A. “Gabriel Fauré à l’école.” (1118) Cusenier, S. “L’époque de Gabriel Fauré.” (159) Elst, Th. van der. “Le poète de Fauré: Verlaine.” (655) Blin, R. “Masques et bergamasques.” (973) Planel, J. “Gabriel Fauré et le chant.” (595) Maillard, J. “Un archange de l’hellade: Gabriel Fauré.” (441)

414

Gabriel Fauré: A Guide to Research

Journal musical français 131 (10 October 1964). Articles by Chaumont (153), Gavoty (257), Lonchampt (710), and Vuillermoz (266); brief tributes by Louis Aguettant, Louis Aubert, Louis Beydts, Emmanuel Bondeville, Jacqueline Robin-Bonneau, Benjamin Britten, Henri Busser, Pierre Descaves, Henri Dutilleux, Daniel Lesur, Marguerite Long, Louis Martini, André Maurois, Darius Milhaud, André Obey, Jules Romains, Manuel Rosenthal, Magda Tagliaferro; an excerpt from Maurice Ravel by Colette; excerpts from Fauré’s writings; a list of Fauré’s works; and a bibliography. Gabriel Fauré: Werk und Rezeption, edited by Peter Jost. Kassel: Bärenreiter, 1996. 256pp. ISBN 3-7618-1271-X 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

Stegemann, Michael. “Chronik.” Beltrando-Patier, Marie-Claire. “Gabriel Fauré—Leben und Werk.” (144) Schmierer, Elisabeth. “Fauré und die Symphonie.” (870) Kelkel, Manfred. “Original und Bearbeitung: Betrachtungen über Gabriel Faurés Orchesterwerke.” (908) Thomas, Marie-Maud. “Stilelemente in Faurés Kammermusik.” (825) Breitfeld, Claudia. “Die Cellosonaten von Brahms und Fauré.” (322) Penesco, Anne. “Die Violine in Faurés Kammermusik.” (816) Kabisch, Thomas. “Faurés Klaviersatz.” (744) Bernard-Krauß, Geneviève. “Die Bühnenwerke Faurés zwischen Klassizität und Impressionismus.” (873) Jost, Peter. “Faurés ‘Les djinns’ und die Chormusik seiner Zeit.” (723) Winterhager, Wolfgang. “Zu Struktur und Funktion der Klavierbegleitung in Gabriel Faurés ‘Mélodies’.” (607) Cahn, Peter. “Faurés ‘A Clymène’ op. 58 Nr. 4.” (615) Guillot, Pierre. “Gabriel Faurés Kirchenmusik: Von Requiem ‘ohne Anlass’ zur 13. Nocturne.” (690) Gut, Serge. “Die Verflechtung von Modalität und Tonalität in der Musik von Gabriel Fauré.” (528) Biget-Mainfroy, Michelle. “Gabriel Fauré und die Nacht: Zur Diskussion von Stilelementen des Impressionismus und Expressionismus in den Kompositionen der Jahrhundertwende.” (374)

Collections of Essays, Special Issues of Periodicals 16.

17. 18.

415

Eckerlin, Peter. “Der Hörer ist in der Musik: Rezeptionsästhetische Uberlegungen anhand von Faurés Shylock.” (887) Hirsbrunner, Theo. “Honegger und Fauré.” (505) Strobel, Klaus. “Zur Fauré-Rezeption in Deutschland.” (482)

The work also includes an index of Fauré’s compositions and a bibliography. Regarding Fauré, edited by Tom Gordon. New York: Gordon & Breach, forthcoming 1998. 1. 2. 3. 4.

5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

Gordon, Tom. “Avant-garde or Rearguard?” Tardif, Cécile. “Fauré and the Salons.” (486) Labelle, Nicole. “Gabriel Fauré, Music Critic at Le figaro.” (361) Duchesneau, Michel. “The Triumph of Genre: Fauré’s Chamber Music through the Looking Glass of Music Criticism.” (798) Richards, Katherine. “A View of the French Chamber Music ‘Renaissance’ from Parnassus.” (817) Woldu, Gail Hilson. “Fauré at the Conservatoire: Critical Assessments of the Years 1896–1920.” (320) Ratner, Sabina Teller. “Camille Saint-Saëns: Fauré’s Mentor.” (341) Phillips, Edward R. “The Organic Nature of Sonata Form in Fauré.” (540) Sobaskie, James W. “Allusion in the Music of Gabriel Fauré.” (542) Huebner, Steven. “Ulysse Revealed.” (1038) Kahan, Sylvia. “Fauré’s Prelude to La passion (1890): A Re-examination of a Forgotten Score.” (981) Moore, Stacy. “Mort exquise: Representations of Ecstasy in the Songs of Duparc and Fauré.” (588) Caballero, Carlo. “Fauré’s Religion and La chanson d’Eve.” (346) Orledge, Robert. “A Voyage of Discovery into Fauré’s Song Cycle, Mirages.” (642) Nectoux, Jean-Michel. “Fauré: Voice, Style, and Vocality.” (686)

APPENDIX D

A Check-list of Masters Theses

1131. 1132. 1133.

1134. 1135. 1136.

1137.

1138.

1139. 1140.

Alstadter, Judith. “The Life and Works of Gabriel Fauré.” M.A. thesis, Yale University, 1966. Arnn, John M. “The Harmonic Language of Selected Piano Works by Fauré.” M.M. thesis, Indiana University, 1969. Auger-Crowe, Jean E. “Tonality and Elusiveness in Selected Melodies by Gabriel Fauré.” M.A. thesis, University of Calgary, 1985. Baust, Laurel J. “The Great Requiems of Fauré, Mozart and Verdi.” S.M.M. thesis, Union Theological Seminary, 1954. Borgman, Jean P. “The Fauré Requiem.” M.M. thesis, Eastman School of Music, 1948. Cox, Richard G. “The Secular Solo Songs of Gabriel Fauré: A Style-critical Study.” M.A. thesis, University of North Carolina, 1951. Froehlich, Mary Ann R. “Neglected Compositions by Fauré, Debussy, and Tailleferre.” M.A. thesis, California State University, Long Beach, 1978. Ginot-Gachet, Jacqueline. “L’école de musique classique et religieuse et Gabriel Fauré.” Mémoire, Conservatoire national supérieur, Paris, 1959. Knox, Roger M. “Counterpoint in Gabriel Fauré, ‘String Quartet’ Op. 121.” M.A. thesis, Indiana University, 1978. Mattson, Lurene H. “Prometheus in Sound: One Hundred Years of Musical Adaptations of the Myth of Prometheus….” M.A. thesis, University of the Pacific, 1972. 417

418 1141.

1142. 1143.

1144. 1145. 1146. 1147. 1148.

Gabriel Fauré: A Guide to Research Pési, Jacques. “Le concept de musique pure d’après l’œuvre de musique de chambre de Gabriel Fauré.” Mémoire, Université de Paris I, 1977. Rebber-Dodge, Mary L. “The Piano Style of Gabriel Fauré.” M.Mus. thesis, University of California, 1963. Skoumal, Denny Z. “Aspects of Structure in Gabriel Fauré’s Le jardin clos and Related Works.” M.A. thesis, University of British Columbia, 1982. Soulard, Michel. “La bonne chanson, du poème à la mélodie (Verlaine-Fauré)” Mémoire, Université de Poitiers, 1975. Swann, Linda. “The Fauré Requiem.” S.M.M. thesis, Union Theological Seminary, 1958. Vives, Vincent. “Le parti pris poétique dans les mélodies de Gabriel Fauré.” Mémoire, Université de Paris VII, 1989. Wentz-Gryba, Dianne E. “Gabriel Fauré: The Unrecognized Innovator.” M.A. thesis, University of Saskatchewan, 1988. Winter, James H. “Gabriel Fauré.” M.M. thesis, Northwestern University, 1947.

APPENDIX E

Useful Recordings

The following list is not intended as a formal discography. It is neither systematically annotated nor comprehensive but included simply for the convenience of the reader. SONGS AND DUETS Gabriel Fauré: Intégrate des mélodies Ameling, Souzay, Baldwin; EMI Classics CMS 764079 2 La bonne chanson Souzay, Baldwin; Philips 420 775–2 Gabriel Fauré (includes La bonne chanson, Mirages) Derenne, Cox, Houdy, Sauguet; INA SOCD 126 Gabriel Fauré (includes La bonne chanson, L’horizon chimérique) Herbillon, Paraskivesco; Calliope CAL 9841 L’horizon chimérique (includes, as well, La bonne chanson with string accompaniment) Sylvan, Breitman; Nonesuch 79371–2 Mirages Gehrman, Walker; Nimbus NI5214 La bonne chanson (includes Mirages) van Egmont, van Immerseel; Channel Classics CCS 8295 Mélodies françaises (includes La bonne chanson, Mirages, Op. 21) Holzmair, Wyss; Philips 446 686–2

419

420

Gabriel Fauré: A Guide to Research

SACRED WORKS Fauré, Cantique de Jean Racine, Œuvres chorales Alldis, Groupe Vocal de France; EMI Classics 5 65562 2 Requiem (original version), Messe des pêcheurs de Villerville (1882 version) Herreweghe, La Chapelle Royale; Harmonia mundi 901292 Requiem (original version) Gardiner, Monteverdi Choir; Philips 438 149–2 Requiem (original version), Messe basse (1906 version) Summerly, Schola Cantorum of Oxford; Naxos 8 550765 Requiem (symphonic version) Boulanger, BBC Chorus; Intaglio INCD 703–1 PIANO WORKS Crossley The Nocturnes, nos. 1–7; CRD 3406 The Nocturnes, nos. 8–13; Pieces brèves’, CRD 3407 The 13 Barcarolles’, CRD 3422 Préludes, Impromptus, Theme and variations’, CRD 3423 Valse-Caprices, Romances, Ballade, Mazurka’, CRD 3426 Collard Nocturnes, Theme and variations, Ballade, Préludes’, EMI 7691492 The 13 Barcarolles’, EMI 7 47358 2 Volondat Barcarolles, Ballade’, Naxos 8 553634 Lemelin The 13 Nocturnes; CBC MVCD 1075 CHAMBER WORKS Musique de chambre (complete) Collard, Dumay, Lodéon, Debost, Pasquier, Quatuor Parrenin; EMI Classics CMZ 62545, CMZ 62548 Violin Sonatas Mintz, Bronfman; Deutsche Grammophon 423 065–2 Violoncello Sonatas Igloi, Benson; CRD 3316

Useful Recordings

421

Piano Quartets Domus; Hyperion CDA 66166 Piano Quintets Quintette Fauré di Roma; Claves 50–8603 Piano Trio (with those of Debussy and Ravel) Trio Rouvier-Kantorow-Müller; Denon 8723 ORCHESTRAL WORKS L’œuvre d’orchestre (Opp. 80, 112, 57; Opp. 19, 24, 16, 111, 12, 52, Prélude to Pénélope) von Stade, Gedda, Ensemble Vocal Alix Bourbon, Collard, P. Tortelier, Y.-P. Tortelier, Orchestre du Capitole de Toulouse (Plasson); EMI 7479382, EMI 7479392 Violin Concerto (with Opp. 16, 24, 112, 57, 80) Bonucci, Ponomarev, Orquesta Filarmonica de la Ciudad de Mexico (Bátiz) French Impressions (includes Opp. 19, 112) Northern Sinfonia (Pommier); Virgo 7 91467–2 Pelléas et Mélisande (with Berlioz, Les nuits d’été) Atlanta Symphony (Shaw); Telarc 80084 STAGE WORKS Pénélope Norman, Dutoit; Erato 88205 MISCELLANEOUS Hommage à Gabriel Fauré (pieces on “Fauré” by Aubert, Enesco, Kœchlin, Ladmirault, Ravel, Roger-Ducasse, and Schmitt for La revue musicale, October 1922) Fingerhut, Sillito, Benson; Chandos 8578

Author Index Item numbers in Roman type refer to works for which the person cited is the author; those in italic indicate items that make reference to the person cited (such as book reviews). References to pages and to notes are in bold type. Interviews with Fauré and collections of his writings or correspondence are cited both under Fauré and under the interviewer (if known) or editor. Works for which Fauré supplied a preface are cited both under Fauré and the author of the work.

Abraham, Hélène, 548 Abram, Paul, 989 Ackere, Jules van, 363, 549 Aderer, Adolphe, 990; 399 n. 192 Aguettant, Louis, 137, 247, 248, 550, 724, 788; 393 n. 88 Alain, Olivier, 791 Albéniz, Isaac, 70 Albert, François, 206, 207, 210, 224 Albrecht, Otto, 128 Alexandrescu, Romeo, 89 Almeida, Vieira de, 626 Almendra, Julia d’, 516 Alstadter, Judith, 138, 139, 1131 Amerongen, Alex van, 44, 364, 365, 695, 1113, 1114 Amiel, André, 922 Aprahamian, Felix, 792, 923 Arnn, John M., 1132 Astruc, Gabriel, 991 Aubert, Louis, 140, 167, 205, 245, 366, 367, 426; 21; 390 n. 31 Auburtin, Jean, 141 Auclert, Pierre, 321, 766; 398 n. 162 Augé-Laribé, Michel, 389 n. 18

Auger-Crowe, Jean E., 1133 Auric, Georges, 211, 992 Auriol, Henri, 33 Austin, William W., 368, 517 Avenaz, Claude, 993 Bailbé, Joseph-Marc, 49 Balay, Guillaume, 49 n. 51 Bannerman, Betty, 551 Barbaud, Pierre 409; 392 n. 72 Bardac, Hélène. See Tinan, Mme Gaston de Barnard, Monty J., 552 Barraqué, Jean, 767 Barshell, Margaret L., 793 Barthes, Roland, 648; 396 n. 139–141 Bartlet, M.Elizabeth, 134 n. 19 Bastia, Jean, 971 Bastin, Yvonne, 142 Bathori, Jane, 143; 388 n. 11 Bauman, Jolanta, 725 Baust, Laurel J., 1134 Beaunier, André, 553, 627 Beechey, Gwilym, 726, 829, 850 Beerhom, Max, 898 Bell, A.Craig, 554

423

Bellaigue, Camilla, 61, 334, 369, 617, 696, 994–997; 391 n. 59 Bellingardi, Luigi, 924 Beltrando-Patier, MarieClaire, 144, 457, 555, 556, 649; 393 n. 83; 394 n. 104; 395 n. 115 Benevides, Walter, 1115 Benoît, Camille, 697 Benton, Rita, 589 Berger, Jean, 557 Berger-Levrault, Mathilde, 1128 Bernac, Pierre, 558, 559, 560 Bernard, Élisabeth, 134 n. 19 Bernard, Robert, 145, 370, 371, 496 Bernard-Krauß, Geneviève, 873 Berteaux, Eugène, 344 Bertelin, Albert, 146 Berthelot, René, 372 Bertschinger, Walter, 373 Bex, Maurice, 212 Beydts, Louis, 561 Bianchi, Stefano, 333 Biba, Otto, 899 Bidou, Henry, 643, 972 Biget-Mainfroy, Michelle, 374 Bing, 287

424 Bland, Stephen F., 562 Blavinac, Albert, 998, 999 Blin, R., 973 Blois, Pierre, 1000 Blom, Eric, 388 n. 7 Bloom, Peter, 134 n. 19 Blume, Friedrich, 393 n. 78 Boëllmann, Léon, 49 n. 42 Boëllmann-Gigout, MarieLouise, 268; 51 n. 81 Boisvillette, 1001 Boneau, Denise, 85 Borgex, L., 17, 147 Borgman, Jean P., 1135 Bortolotto, Mario, 398 n. 173 Boschot, Adolphe, 206, 213, 214, 249, 727, 781, 852, 974, 1002, 1003 Boulanger, Nadia, 148, 149, 187, 205, 375, 687, 1004 Bourdon, Georges, 900, 901 Bourgeat, Fernand, 563 Boutarel, Amédée, 886 Bowman, Robin, 640 Boyd, Malcolm, 698 Boyer, Georges, 1005 Brancour, René, 975 Brande, Émile, 170, 830 Breitfeld, Claudia, 322, 794 Bres, Sophie, 288 Brieff, Anabel H., 26, 57 Brillant, Maurice, 209 Brody, Elaine, 107, 650 Broughton, Laura L., 497 Bruneau, Alfred, 205, 245, 250, 289, 699, 985, 1006, 1007 Brunel, Raoul, 1008 Brunetto, Flavia, 651 Brusse, Corre B., 622 Brussel, Robert, 215, 564, 925, 926 Bruyr, José, 609, 628, 700 Burg, Josef, 277 Busser, Henri, 150, 960 Caballero, Carlo, 102, 345, 346; 397 n. 154 Cahn, Peter, 121, 615, 625 Cain, Julien, 1105

Index Calvocoressi, Michael D., 151, 216, 498, 1009 Camoni, Barbara, 629, 652 Campbell, Don G., 375 Campbell, Mrs. Patrick, 902 Candé, Roland, 376 Capet, Lucien, 245 Capri, Antonio, 795 Carner, Mosco, 535 Carraud, Gaston, 201, 290, 377, 378, 518, 630, 927, 1010; 391 n. 61; 400 n. 205 Carré, Albert, 39, 70 Carter, Elliott, 379 Casella, Alfredo, 380 Castelbon de Beauxhostes, Fernand, 928 Chabrier, Emmanuel, 69 Chailley, Jacques, 519, 520; 390 n. 36; 394 n. 101, 104 Chalupt, René, 653 Chamfray, Claude, 115, 431 Champagne, Mario J.S.G., 565 Champclos, G.Davin de, 1011 Chanler, Theodore, 381, 382 Chantavoine, Jean, 217, 251, 383, 384, 449, 857, 985, 1012, 1013 Charley, 1014 Charpentier, Raymond, 203, 976, 1075; 400 n. 203 Chaumont, Gaby, 152, 153 Cheiner, Sophie, 385, 386; 392 n. 65 Chevaillier, Lucien, 389 n. 22 Chevalier, Henri, 350, 631, 654 Cidrais, Fernanda, 400 n. 207 Clozanet, Albert. See Udine, Jean d’ Cœuroy, André, 154, 218– 223, 387, 688, 689, 796 Cohen, H.Robert, 134 n. 19 Cohrs, Gunnar, 701

Collet, Henri, 155, 388, 389, 1015 Collin, C.-A., 51 n. 80 Combarieu, J., 156, 157, 291; 51 n. 86; 396 n. 132; 397 n. 149 Compagnon, Antoine, 330 Cooke, Deryck, 394 n. 110 Cools, Eugène, 205, 858 Cooper, Martin, 362, 390, 391, 521, 929 Copland, Aaron, 392 Coppier, André-Charles, 62 Cornwallis-West, Beatrice S.T. See Campbell, Mrs. Patrick Cortot, Alfred, 245, 353, 728–730, 738, 756, 768, 778, 841; 18, 21 Cossart, Michael de, 357 Coulomb, P., 158 Cox, Richard G., 1136 Crichton, Ronald, 393, 874, 1016 Crochet, Evelyne, 788 Croiza, Claire, 252, 548, 551, 1017;395 n. 113 Crouch, Richard H., 731 Crucy, François, 21 Cruppi, Louise, 1129 Cuneo-Laurent, Linda, 388 n. 11 Curzon, Henri de, 930, 1018 Cusenier, S., 159 Czarnecka, Irena, 395 n. 120 Dahlhaus, Carl, 797 Daitz, Mimi S., 52, 108, 566 Dale, Kathleen, 732 Dandelot, Arthur, 931, 1019 Dardenne, Roger, 979 Darnaudat, Jean, 1020 Dauphin, Léopold, 932 Davenay, G., 224 Davies, Laurence, 394, 395 Dayrolles, Albert, 1021 Debay, Vincent, 933 Debussy, Claude, 7, 17, 66, 396 Delage, Roger, 394 n. 106 Delgay, Léon, 408

Index Deliège, Célistin, 397 Della Corte, Andrea, 354 Delvincourt, Claude, 246 De Martino, Pier Paolo, 733 Demuth, Norman, 398, 399, 734 Dent, Alan, 398 n. 176 Depaulis, Jacques, 72;53 n. 102 Desbruères, Michel, 934 Desmond, Astra, 559 Devine, Patrick, 831 DeVoto, Mark, 119 Dommel-Diény, Amy, 522; 394 n. 102 Doret, Gustave, 160 Drault, Jean, 1022 Ducasse, Jean Roger. See Roger-Ducasse, Jean Duchesneau, Michel, 798; 52 n. 91 Duck, Leonard, 400 Dufourcq, Norbert, 122, 401 Dukas, Paul, 205, 225, 402, 935, 1023;399 n. 189 Dulac, Édouard, 63 Dumesnil, René, 157, 161, 226, 269, 403–406, 702, 875;51 n. 86;388 n. 14 Dumm, Robert, 788 Dunoyer, Cecilia, 397 n. 156 Dunwell, Wilfrid, 523 Durand, Jacques, 162 Duteurtre, Benoit, 97 Eckart-Bäcker, Ursula, 47, 1024 Eckerlin, Peter, 887 Eigeldinger, Jean-Jacques, 77, 735, 736 Einstein, Alfred, 393 n. 78 Elgar, Edward, 45 Elson, James, 567 Elst, Nancy van der, 323 Elst, Th. van der, 655 Fabre, Michel, 355, 568 Falla, Manuel de, 51 n. 87 Fauchois, René, 1055 Fauquet, Joël-Marie, 100 Fauré, F., 1025 Faure, Gabriel Auguste, 90, 253–256, 1026

425 Fauré, Gabriel Urbain, 4–19, 38–42, 755 correspondence, 43, 45, 46, 48, 53, 54, 61–72, 189, 196, 335, 351, 354, 878 editions, 1–3 interviews, 20–30 prefaces, 31–37, 156 Faure, Michel, 656, 1116, 1117;143 Fauré-Fremiet, Emmanuel, 67, 163, 164 Fauré-Fremiet, Philippe, 43, 44, 91, 123, 165, 347, 631, 679, 799, 1027, 1028;6 n. 8;137 n. 57 Favre, Georges, 610, 876; 396 n. 128 Favre, Max, 800, 801 Ferguson, David M., 840 Ferguson, Donald N., 802; 396 n. 145 Feurzeig, Lisa, 358 Fischer, Penelope A.P., 499 Fiske, Roger, 47 n. 14 Flaubert, Gustave, 878 Flemm, Eugene W., 500 Forst, Inge, 703 Fortassier, Pierre, 587, 657–659 Fourcaud, Louis de, 166, 888, 1029, 1030 Frerichs, Ken, 765 Friedland, Bea, 748 Froehlich, Mary Ann R., 1137 Gabeaud, A., 1118 Gaiffe, Félix, 632 Gal, Hans, 45 Galant, Jed A., 501 Galerne, Maurice, 270 Gallet, Louis, 878 Gallet, Mme Maurice, 569 Gandrey-Rety, Jean, 22, 203 García Morillo, Roberto, 407 Garnier, Paul-Louis, 936 Gaubert, Philippe, 21 Gaudefroy-Demombynes, Jean, 384 Gauthier, Édouard, 937

Gauthier-Villars, Henri, 408, 780, 838, 938, 939, 986;392 n. 71; 398 n. 164 Gavoty, Bernard, 257, 409, 502; 135 n. 25; 391 n. 50 Gehelle, 1031 George, André, 427 Gérard, Yves, 95;6 n. 6 Germain, Auguste, 292, 1032 Gervais, Françoise, 410, 411, 524–526; 394 n. 104 Ghéon, Henri, 1033 Gheusi, P.-B., 4, 208, 215, 258, 987, 1034 Gibb, James, 737 Gigout, Eugène, 205, 271; 390 n. 36;395 n. 115 Gil-Marchex, Henri, 738 Gilson, Paul, 1035 Ginot-Gachet, Jacqueline, 940, 1138 Görner, Rüdiger, 390 n. 36 Goldbeck, Fred, 412; 394 n. 106 Goléa, Antonie, 124 Golovatchoff, Dika, 739 Goncourt, Edmond de, 655 Goncourt, Jules de, 655 Gorrell, Lorraine, 624 Goubault, Christian, 391 n. 42; 396 n. 132 Gouin, Jacques, 331, 660 Gray, Cecil, 413 Greer, Taylor A., 527 Gregg, Thomas A., 661 Gregh, Fernand, 570 Grétry, Félicien, 278 Griffiths, Paul, 125, 859 Grovlez, Gabriel, 205 Grubb, Thomas, 560 Guiette, Robert, 1099 Guillot, Pierre, 690 Guilmant, Alexandre, 15 Guitard, Louis, 167 Gut, Serge, 528, 803, 804; 394 n. 104 Hahn, Reynaldo, 623, 624, 740, 903–905, 1036 Halbreich, Harry, 805 Hall, James H., 571

426 Halls, Wilfred D., 1100 Hansen, Robert H., 503 Haraszti, Émile, 126, 168, 704 Haraucourt, Edmond, 979, 980 Harding, James, 169; 134 n. 15 Harman, Alec, 393 n. 81 Helmholz, Hermann, 396 n. 145 Henderson, Archibald, M, 691 Henry-Jacques, 1108 Herlin, Denis, 78 Hermans, G., 906 Hermant, Pierre, 806 Hertich, Charles, 170, 830 Hervey, Arthur, 414, 415 Heubner, Steven, 103 Heurtel, Henri, 206 Heurtel, Mme Veuve Henri, 272 Hill, Edward B., 416, 741 Hilson, Gail. See Woldu, Gail Hilson Hinson, Maurice, 749 Hippeau, Edmond, 417 Hirsbrunner, Theo, 418, 504, 505, 662, 663, 804 Hiyoshi, Tokie, 52 n. 95 Holloway, Robin, 58, 419 Holoman, D.Kern, 134 n. 19 Honegger, Arthur, 506, 807, 1037; 391 n. 51 Honegger, Marc, 127 Hooreman, Paul, 420 Horton, John, 56, 421 Houdard, G., 15 Howat, Roy, 641 Hoyle, Wilson T., 332 Hucher, Yves, 240 Hue, Georges, 205, 245 Huebner, Steven, 1038 Hughes, Gervase, 977 Hull, Arthur E., 128, 422 Huré, Jean, 31, 259, 423, 692 Huvelin, Paul, 424 Imbert, Hughes, 171, 705, 808

Index Imbert, Maurice, 809, 854, 860 Imberty, Michel, 572 Incontrera, Carlo de, 333 Indy, Vincent d’, 30, 64, 65, 172, 196, 205, 227, 351, 843; 52 n. 90 Inghelbrecht, Désiré-Émile, 173, 1039 Inwood, Paul, 47 n. 14 Isacoff, Stuart, 174 Izern, Pierre, 941 Jaboune [Jean Nohain], 23 Jackson, Timothy L., 73 Jandet, Yves. See Jeandet, Yette Jankélévitch, Vladimir, 96, 99, 100, 348, 425, 426–428, 429, 430, 431, 638, 655, 742, 906, 1040; 392 n. 76; 401 Jaques-Dalcroze, Émile, 432, 618; 396 n. 130 Jarocinski, Stefan, 433 Jaspard, Sébastien, 24 Jean-Aubry, Georges, 34, 35, 156, 1101; 51 n. 84 Jeandet, Yette, 907; 398 n.179 Jobbé-Duval, Pierre, 1130 Joly, Charles, 706 Jones, J.Barrie, 54, 55–61, 67, 743, 776, 1101 Jost, Peter, 723 Jourdon-Morhange, Hélène, 175 Juin, L.d’, 949 Jullien, Adolphe, 942, 1041; 388 n. 7; 399 n. 196 Kabisch, Thomas, 744, 790 Kahan, Sylvia R., 359, 981 Kelkel, Manfred, 908 Kendall, Alan, 389 n. 19 Kennedy, Margaret, 633 Kidd, James C, 109, 529, 530 Kimpara, Reiko, 664–675, 1119–1121 King, A.Hyatt, 810 Kinsinger, Dan H., 573 Klingsor, Tristan, 574

Kluvetasch, Margarete, 50 n. 66 Knight, Ellen, 176 Knox, Roger M., 1139 Kœchlin, Charles, 68, 71, 92, 93, 177, 245, 434, 531, 575, 634, 743, 768, 796, 877, 905, 909, 943, 944, 960, 1042, 1043; 6 n. 5; 25; 49 n. 54, 55; 53 n. 101; 394 n. 105; 396 n. 136 Kolb, Bruce L., 507 Kostka, Violetta, 576 Kneif, Tibor, 50 Krasner, Louis, 47 n. 3;57 Kurtz, James L., 532 Labelle, Nicole, 361; 391 n. 49 Labordère, Paul, 399 n. 182 Labussière, Annie, 853 Ladmirault, Paul, 619 Lafagette, Roger, 356 Laguillermie, M., 389 n. 21 Lake, Carlton, 81 Lalo, Pierre, 293–302, 635, 636, 639, 707, 782, 844, 848, 945–947, 1044; 390 n. 39; 399 n. 184, 185, 193, 197 Laloy, Louis, 303, 304, 326, 435, 508, 533, 708, 948, 978, 1045 Landormy, Paul, 129, 178, 428, 436, 437, 811 Landowski, W.-L., 745 Langevin, Paul-Gilbert, 179 Lannoy, A.-P., 949 Laparra, Raoul, 245 Lapommeraye, Pierre de, 644 Lara, René, 950, 951 Larroumet, Gustave, 952 Lassus, Jean de, 1046 Lawton, Mary, 455 Lazzari, Sylvio, 205 Le Borne, Fernand, 1047, 1048 Leclère, Léon. See Klingsor, Tristan Leclère, Tristan, 676 Lefébure, Yvonne, 438 Lefèvre, Gustave, 268, 272; 390 n. 36; 395 n. 115

Index Le Moigne-Mussat, MarieClaire, 180 Lenormand, Henri-René, 181 Lenormand, René, 181, 534, 535 Le Page, Edmond, 1049 Leroux, Xavier, 1050 Lesure, François, 66, 1105; 136 n. 46 LeVan, Timothy, 677 Levy, Roland Manuel A. See Roland-Manuel Li-Kœchlin, Madeleine, 71 Linden, Albert Vander, 351 Lindenlaub, Th., 209, 228 Linor, G., 785, 1051, 1052 Locard, Paul, 709 Lockspeiser, Edward, 334, 362, 577, 578, 812; 52 n. 94 Loft, Abram, 832 Loisel, Joseph, 129 Lombardi-Giordano, Clara, 182 Lonchampt, Jacques, 710; 53 n. 101; 394 n. 92 Long, Marguerite, 336, 711, 746, 747, 748, 749, 769 Longyear, Rey M., 439, 461; 393 n. 78 Loppert, Max, 1053, 1054 Lorrain, Jean, 953 Lortat, Robert, 183, 750 Lot, Ferdinand, 1055 Loyonnet, Paul, 440 Lubin, Ernest, 779 Machabey, Armand, 1056 Maillard, Jean, 441, 608, 611, 910 Maizeroy, René, 954 Malherbe, Charles, 184, 955; 395 n. 112 Malherbe, Henry, 209, 229, 260, 442, 783, 1057, 1058 Mangeot, André, 230, 305, 861, 956, 957; 391 n. 40 Marcel, Gabriel, 231 Marchès, Léo, 306 Mare, Jeanne de, 185

427 Marliave, Joseph de, 37, 469, 639, 746, 749, 758, 759, 761, 766, 769, 771, 965, 1015, 1079 Marnold, Jean, 232, 307, 308, 636, 958, 1059; 391 n. 41; 398 n. 159 Masson, Marie-Noëlle, 678 Matter, Jean, 324 Mattson, Lurene H., 1140 Mauclair, Camille, 309, 579, 580; 391 n. 58 Maudru, Pierre, 245, 1060 Maus, Madeleine Octave, 352 Maus, Octave, 845, 1061 McKay, James, 86 Meister, Barbara, 581, 582, 583, 584–586 Mellers, Wilfrid, 443–445, 509; 393 n. 81 Meloncelli, Raoul, 813 Mendès, Catulle, 959 Ménil, François de, 279; 390 n. 38 Méraly, Jacques, 587 Méry, Jules, 25, 1062–1064 Messager, André, 10, 186, 208, 224, 245, 261; 47 n. 20–22; 51 n. 80 Meunier-Thouret, Marc, 814 Meyer, Leonard, 396 n. 145 Mignan, Édouard, 280 Milhaud, Darius, 446 Miller, Philip, 447 Milner, Anthony, 393 n. 81 Mischa-Léon, 1065 Modrakowska, Maria, 637 Monsaingeon, Bruno, 187 Montesquiou, Robert de, 68 Moore, Stacy, 588 Moran, William, 624 Morlot, Émile, 885 Morrison, Bryce, 448 Mouleng, Jean, 26 Mouret, François, 678 Mowrey, Thomas, 174 Myers, Rollo, 449 Nash, Peter P., 110 Navien, Charles F., 645

Nectoux, Jean-Michel, 46, 47, 48, 49–52, 53, 57–62, 67–70, 74, 75, 94, 95, 96, 97–100, 101, 102–109, 130, 131, 132, 149, 163, 188, 189, 327, 335, 337, 450, 451, 536–538, 566, 685, 686, 695, 870, 878–880, 889, 908, 960, 1101, 1106, 1109, 1110, 1122, 1123; 6 n. 1, 2, 5; 40; 47 n. 8, 13, 14, 19; 48 n. 24, 28, 32, 37; 49 n. 40, 43, 45, 47, 50, 58; 50 n. 60, 68, 69, 73; 51 n. 82; 52 n. 97; 57; 116; 134 n. 7, 19; 135 n. 22; 136 n. 42, 47; 388 n. 3, 4; 392 n. 77; 396 n. 133, 137; 397 n. 147; 398 n. 165; 400 n. 199, 202; 401 Nède, André, 27 Neisser, Arthur, 1066, 1067 Nello, 961 Nicolodi, Fiamma, 50 n. 75 Niedermeyer, Alfred, 274, 275 Niedermeyer, Louis, 273; 390 n. 35 Niedermeyer, Louis Alfred. See Niedermeyer, Alfred Nies, Otfrid, 510 Nigoul, Toussaint, 190 Noel, Édouard, 871, 1088 Nohain, Jean. See Jaboune Norton, Kay, 544 Northcott, Bayan, 452, 454 Noske, Frits, 582, 589; 13; 47 n. 6 Nuffel, Robert O.J.Van, 679 Nussy Saint-Saëns, Marcel, 962 Ochse, Orpha, 281 Ollivier, Claude, 99 Orenstein, Arbie, 338

428 Orledge, Robert, 51, 60, 76, 79, 82, 104, 106, 107–110, 453, 511, 584, 642; 6 n. 6; 47 n. 14; 50 n. 73; 50 n. 76; 134 n. 7; 136 n. 43; 388 n. 4 Orrey, Leslie, 454, 590, 591, 815 Ortigue, Joseph, 390 n. 35 Otani, Sensho, 52 n.95 Owyang, Lily S., 751 Paap, Walter, 616 Paderewski, Ignace J., 455 Panzéra, Charles, 568, 612, 646 Panzéra, Magdeleine, 568 Parakilas, James, 770 Parigi, Luigi, 592 Parker, D.C., 456 Patier, Marie-Claire. See Beltrando-Patier, Marie-Claire Paulin, Gaston, 982 Pawlowski, G. de, 1068 Pearson, Lillian B., 752 Penesco, Anne, 816 Pennington, Kenneth D., 593, 594 Perrin, Maurice, 191 Pési, Jacques, 349, 1141 Philipp, Isidore, 32; 25, 50 n. 68 Phillips, Edward R., 80, 539, 540 Pierné, Gabriel, 205 Piguet, J.-Claude, 325 Pincherle, Marc, 862; 388 n. 7 Pioch, Georges, 192, 193, 881, 963, 1069–1071, 1111 Pisk, Paul A., 491 Pistone, Danièle, 194, 753, 803, 804 Pitrou, Robert, 458 Pittion, Paul, 459 Planchet, D. Ch., 460 Planel, Jean, 595 Plantinga, Léon, 461 Plum, P.J.-M., 712 Polignac, Princesse Edmond de, 360 Pontalba, M., 462

Index Porter, Laurence M., 662, 680, 681; 396 n. 145 Poueigh, M.O.G. Jean, 197, 964 Pougin, Arthur, 869, 1072 Poulenc, Francis, 1073 Primmer, Brian, 713 Prod’homme, J.G., 1124 Proust, Marcel, 335 Prunières, Henry, 262, 263; 397 n. 149 Quitin, José, 839 Quittard, Henri, 985, 1074 Rabaud, Henri, 206, 207, 210, 224; 389 n. 21 Radice, Mark A., 512 Raffin, L., 280 Ratner, Sabina Teller, 341 Ravel, Maurice, 596, 784, 785, 395 n. 123 Raymond-Charpentier. See Charpentier, Raymond Raynor, Henry, 585 Rebber-Dodge, Mary L., 1142 Reid, Sarah J., 541 Reinach, Théodore, 1102, 1103; 400 n. 206 Richards, Katherine, 817 Riemann, Hugo, 133 Riessauw, Anne M., 682, 683 Riley, Maurice, 714 Risler, Édouard, 189 Risler, Mimi Girette, 189 Rivière, Jacques, 1076; 400 n. 204 Roberson, Richard E., 754 Robert, Frédéric, 463 Robert, Gustave, 786 Robertson, Alec, 715 Roger, Thérèse, 62 Roger-Ducasse, Jean, 72, 205, 310, 750, 755, 818; 23 Rohozinski, Ladislas, 140, 172, 177, 186 Roland-Manuel, 233, 464, 465, 716, 855, 1077; 395 n. 123 Rollin, J., 819 Ropartz, Guy, 264, 890 Rorick, William C., 834

Rostand, Claude, 134, 466, 467, 513, 756, 796 Rothwell, Fred, 234 Rouché, Jacques, 245 Rouet de Journel, J., 597 Roussel, Albert, 205, 342; 391 n. 49 Rowley, Alec, 757 Roy, Jean, 343, 638; 391 n. 51 Rubbra, Edmund, 1078 Rubinstein, Seymour Z., 849 Ruiz Conde, José M., 598 Rutter, John, 717; 47 n. 9 Ryelandt, Baron, 468 Saint-Jean, J. See Marliave, Joseph de Saint-Marceaux, Mme de, 70 Saint-Saëns, Camille, 15, 46, 195, 276, 718, 835, 839, 928 Salter, Lionel, 132 Samain, Albert, 1101 Samazeuilh, Gustave, 64, 196, 235, 236, 863 Sams, Jeremy, 55 Samuel, Harold, 87 Samuel-Rousseau, Marcel, 49 n. 59; 50 n. 61 Sanger, George N., 760 Sannemüller, Gerd, 339 Sarcey, Francisque, 891 Sarrautte, Jean-Paul, 470 Sauguet, Henri, 510, 599 Saul, Patrick, 551 Scherer, Barrymore L., 582 Schloezer, Boris de, 471 Schmierer, Elisabeth, 870 Schmitt, Florent, 237–240, 820, 866, 872 Schneider, Louis, 18, 28, 785, 985, 1080–1086 Schneider, Marcel, 911 Schouten, Hennie, 600 Schuster, Frank, 45 Scott, Earl K., 719 Séré, Octave. See Poueigh, M.O.G.Jean Sérieyx, Auguste, 52 n. 90 Sérieyx, Marie-Louise, 52 n. 90

Index Servières, Georges, 111, 198, 601, 602, 620, 846, 966 Sevilla, Jean-Paul, 472 Shattuck, Roger, 473 Shimatani, Maki, 52 n. 95 Sievers, Gerd, 912 Siguitov, Sergei, 112, 474 Singer, Winnaretta. See Polignac, Princesse Edmond de Sivry, A. de, 311 Six, Henri, 1125 Skoumal, Denny Z., 1143 Slonimsky, Nicolas, 135 Smallman, Basil, 856 Smith, Collin, 392 n. 75 Smith, Davis S., 475 Smith, Richard L., 57, 545; 397 n. 150 Smith, Rollin, 282, 283 Smolian, Steven, 118 Sobaskie, James, 105, 542, 842 Solenière, Eugène de, 476 Solliers, Jean de, 761, 789 Sommers, Paul B., 603 Souday, Paul, 967, 1087 Soulard, Michel, 1144 Spaulding, Walter R., 477 Speculum, 478 Speranza, Ennio, 864; 398 n. 173 Spitzmüller-Harmersbach, Alexander, 479 Spycket, Jérôme, 389 n. 19 Stahura, R., 59 Stegall, Gary M., 514 Stegemann, Michael, 772; 388 n. 3 Steinbauer, Robert A., 773 Stevens, Denis, 821 Stickler, LarryW., 647 Stœcklin, Paul de, 265, 480 Stokan, David S., 787 Stonequist, Martha, 393 n. 82 Stoullig, Edmond, 871, 1088 Strickler, Rémy, 481 Strobel, Klaus, 482, 604 Stuckenschmidt, H.H., 483

429 Suckling, Norman, 108, 113, 362, 484, 485, 605, 882, 883; 134 n. 15; 393 n. 88 Surtac, 312 Swann, Linda, 1145 Symes, R.D., 199 Tagrine, Nadia, 465 Tait, Robin, 543, 544, 545, 865; 395 n. 111 Tammaro, Ferruccio, 913 Tanner, A., 822 Tarasti, Eero, 1126 Tardif, Cécile, 486 Taube, Lotte, 487 Tenroc, Charles, 30, 851, 1089 Thèbes, Mme de, 397, 1130 Thibaud, Jacques, 823 Thomas, Marie-Maud, 824, 825 Thompson, Kenneth, 136 Tiersot, Julien, 488, 489, 968 Timbrell, Charles, 762 Tinan, Mme Gaston de, 328 Torchet, Julien, 200, 313, 490 Trotignon, Pierre, 392 n. 75 True, Wesley, 777 Tubergen, David G., 836 Turner, J.Rigbie, 88 Udine, Jean d’, 613, 774, 914 Ulpmen, Noé M., 201 Ulrich, Homer, 491, 720, 826; 393 n. 90 Upper, Henry A., 775 Valbelle, Roger, 29 Valicenti, Joseph A., 763 Vallas, Léon, 329, 837, 1090 Valois, Jean de, 280 Vandérem, Fernand, 241 Veran, Jules, 969 Verhelst, F., 721 Verlaine, Paul, 1101 Viardot, Marianne, 61, 63 Vidal, Paul, 205, 245

Vierne, Louis, 492, 847; 393 n. 91 Vincent, John, 546 Vinteuil, Roger, 915 Vitu, Auguste, 892 Vives, Vincent, 1146 Vivet, Armand, 722 Vuaillat, Jean, 114, 115, 693 Vuillemin, Louis, 30, 31, 116, 205, 694, 785, 1011, 1051, 1091, 1082, 1092 Vuillermoz, Émile, 36, 117, 118, 119, 201, 209, 242, 243, 266, 314, 315, 340, 493–495, 606, 693, 788, 827, 867, 884, 916, 970, 1093–1098; 50 n. 76; 390 n. 32; 398 n. 175 Wagstaff, John, 397 n. 150 Watteville, Charles de, 1127 Weber, Wallace D., 621 Wegren, Thomas J., 764 Wehmeyer, Grete, 586 Weil,Henri, 1104 Weill, Janine, 397 n. 156 Wenk, Arthur, 684 Wentz-Gryba, Dianne E., 1147 Widor, Charles-Marie, 205, 245, 267 Wiéner, Jean, 202 Wieniawski, Adam, 244 Willy. See Gauthier-Villars, Henri Winter, James H., 1148 Winterhager, Wolfgang, 607 Wirsta, Aristide, 839 Wiseman, Daniel, 515 Woldu, Gail Hilson, 316–320 Wolff, Barbara M, 83 Wright, Craig M., 84 Youens, Susan L., 614 Zimmermann, Reiner, 47 n. 14

COMPOSER RESOURCE MANUALS Guy A.Marco, General Editor 1. Heinrich Schütz (1981) by Allen B.Skei 2. Josquin Des Prez (1985) by Sydney Robinson Charles 3. Sergei Vasil’ Evich Rachmaninoff (1985) by Robert Palmieri 4. Manuel de Falla (1986) by Gilbert Chase and Andre Budwig 5. Adolphe Adam and Léo Delibes (1987) by William E.studwell 6. Carl Nielsen (1987) by Mina F.Miller 7. William Byrd (1987) by Richard Turbet 8. Christoph Willibald Gluck (1987) by Patricia Howard 9. Girolamo Frescobaldi (1988) by Frederick Hammond 10. Stephen Collins Foster (1988) by Calvin Elliker 11. Antonio Vivaldi (1988) by Michael Talbot

17. Nikolai Andreevich Rimsky-Korsakov (1989) by Gerald R.Seaman 18. Henry Purcell (1989) by Franklin B.Zimmerman 19. G.F.Handel (1988) by Mary Ann Parker-Hale 20. Jean-Philippe Rameau (1989) by Donald Foster 21. Ralph Vaughan Williams (1990) by Neil Butterworth 22. Hector Berlioz (1989) by Jeffrey A.Langford and Jane Denker Graves 23. Claudio Monte Verdi (1989) by K.Gary Adams and Dyke Kiel 24. Carl Maria Von Weber (1990) by Donald G.Henderson and Alice H.Henderson 25. Orlando Di lasso (1990) by James Erb 26. Giovanni Battista Pergolesi (1989) by Marvin E.Paymer and Hermine W.Williams

13. Johannes Ockeghem and Jacob Obrecht (1988) by Martin Picker

27. Claude Debussy (1990) by James Briscoe

14. Ernest Bloch (1988) by David Z.Kushner

28. Gustav and Alma Mahler (1989) by Susan M.Filler

15. Hugo Wolf (1988) by David Ossenkop

29. Franz Liszt (1991) by Michael Saffle

16. Wolfgang Amadeus Mozart (1989) by Baird Hastings

31. Franz Joseph Haydn (1990) by Floyd K.Grave and Margaret g.grave

34. Allesandro and Domenico Scarlatti (1993) by Carole F.Vidali 35. Henricus Isaac (1991) by Martin Picker

42. Giuseppe Verdi (1998) by Gregory Harwood 43. Tomás Luis de Victoria (1998) by Eugene Casjen Cramer

36. Guillaume De Machaut (1995) by Lawrence Earp

44. Zoltán Kodály (1998) by Mícheál Houlahan and Philip Tacka

37. Edward Elgar (1993) by Christopher Kent

45. Isaac Albéniz (1998) by Walter A.Clark

38. Alban Berg (1996) by Bryan R.Simms

46. Carlos Chávez (1998) by Robert Parker

39. Benjamin Britten (1996) by Peter J.Hodgson

47. Scott Joplin (1998) by Nancy R.Ping-Robbins

40. Béla Bartók (1997) Second Edition by Elliott Antokoletz

48. Giacomo Puccini (1999) by Linda B.Fairtile

41. Jean Sibelius (1998) by Glenda D.Goss

49. Gabriel Fauré (1999) by Edward R.Phillips