Album insights
The neglect experienced by Fauré — even today he is considered the "poor cousin from the countryside" compared to Debussy or Ravel — poses one of the strangest, unsolvable puzzles in music history. Dealing with a composer who consciously cultivated ambiguity, whose musical language is both radical and conservative, and who, despite being undeniably original, can hardly be labeled a modernist, presents significant challenges. Fauré masterfully navigates elliptical transitions with a feline lightness and grace in his early works, leaving performers with the sharpest ears bewildered and listeners puzzled. The early nocturnes and barcaroles share a hidden connection with the Commedia Dell’ Arte, a world of masked figures, moonlit balconies, amorous intimacies, passions, and rendezvous expressed with mysterious elegance and artificial language. Fauré's preference for broken chords, endless delays, and a continuous flow of ideas has led critics to liken his work to "verses without punctuation," criticizing his penchant for repeated sequences and tortured progressions. However, his oeuvre, spanning early, middle (Barcarole No. 5 or Nocturne No. 7), and late periods, showcases a language that evolves increasingly refined, confident, and expansive, despite the darker forces of his final years posing challenges.
Pianists who delight audiences with the superficial energy and tameness of pieces like Impromptu No. 2 (one of the few of Fauré's piano works that almost attains popularity) often hesitate to tackle the preludes, late nocturnes, barcaroles, and Impromptus No. 4 and 5 for fear of losing the trust and affection of their admirers. Fauré's works encapsulate personal passion and isolation, portraying a mix of anger, resignation, capriciousness, and introspection that leaves listeners uneasy, seeking solid musical ground.
Biographical factors intertwine with Fauré's unique blend of courage and despair. Despite his hope for posthumous recognition, Fauré was aware of the current neglect he faced. His publisher's wife used unsold nocturnes and barcaroles as jam jar covers, and Fauré himself was nearly forgotten during his lifetime. Emotional shocks from his father's death and his increasing deafness added to his dilemma. Fauré, in his restrained manner, drew strength from his own spirit, as Gerard Manley Hopkins eloquently described as "the strangest, stillest, least egoistic self of selves." Particularly, his later nocturnes reflect a dark night of the soul, pierced by sudden flashes of light, revealing how Fauré conquered his deepest fears through emotional complexity and articulation.
The six Impromptus (1881–1909) present a journey through Fauré's creative life. Each piece showcases a blend of short and long phrases and thematic embellishments. For instance, Impromptu No. 1 appears richly ornamented and virtuosic, progressing to whirlwind Tarantella in No. 2, then soothingly idyllic in No. 3. Nos. 4 and 5 shift to a different mood, revealing nuances of restlessness and exploration. Impromptu No. 6 stands as a transcription from a harp piece, maintaining its original brilliance in the piano adaptation.
Listeners who find the ephemeral nature of Impromptus No. 4 and 5 unsettling might find solace in the Theme and Variations (1895). This piece's melodic theme reminiscent of Schumann's Études symphoniques remains anchored in a comforting tonal foundation. Each variation unfolds with varying degrees of virtuosity, leading to a concluding variation that resounds with hopeful, optimistic notes.
The Trois romances sans paroles (c. 1863) honor Mendelssohn's lightness and agility in a typically French style, while the four Valses-caprices (1882–1893/4) showcase Fauré's improvisatory prowess and merge classical elegance with delicate virtuosity. Fauré skillfully plays with expectations, oftentimes subverting anticipated musical paths with surprising turns and twists.
Fauré's significant piano works, the nocturnes and barcaroles, both feature the number thirteen as a lucky charm. The titles themselves hint at shifts between light and darkness, passion and serenity, following Chopin's model of blending tranquil outer sections with turbulent central episodes. Each piece in these series offers a unique journey through Fauré's exquisite musical language.
In Dolly (1894–1897), Fauré encapsulates a world of childlike innocence, untouched by adult complexities, weaving a musical narrative filled with playful tributes and heartfelt sentiments. The Nine Preludes (1910–1911) stand as some of Fauré's most challenging yet compelling masterpieces, each piece revealing layers of his musical genius while conveying a range of emotions and moods.
Fauré's musical genius was long overlooked, but now is the time to explore the subtleties of his works, appreciating Copland's remark on "intensity on a quiet background" over Debussy's aggressive judgment. Kathryn Stott's comprehensive performances of his works provide a fresh perspective on a composer whose charm and musical legacy deserve wider recognition. Fauré's music embodies an essence of allure and elegance, embracing both melancholy and resilience within its intricate depths.