Gabriel Fauré (Faure)

[Madiel]

Thanks for the information about Premiere Opera Italy, as it confirms what I was thinking about them as I came across that edition of the performance.

[Madiel]

I've been listening to the Hyperion set of the melodies (which I own), and comparing it to the as yet complete (1 volume to go) Signum series.





It's an interesting exercise because the approach of each is basically the same: one pianist, a collection of singers, keep the song cycles together but other opuses are spread around a bit.

And to me honours are about even. I'm inclined to think the Hyperion set has slightly higher highs, but unfortunately it also has lower lows. Both have some singers I think sound great, and at least one singer who I think sounds bad. For Hyperion, Jennifer Smith stands out as particularly bad and she's given 2 major song cycles to do. On Signum Nigel Cliffe has this really constricted tone, but he's only given a handful of songs to wreck. Everyone else is at least okay, but I think there are slightly more Signum performers who I consider merely 'okay' and not better than that.

Some of the Signum interpretations seem too fast and glib to me (plus one painfully slow one). Whereas on Hyperion, just occasionally it's a bit too staid.

I end up feeling both sets are actually pretty good but not absolutely ideal.

[Mirror Image]

Thanks for the write-up, Madiel. Most informative, indeed.

[Madiel]

Right now I'm trying the first volume of the set Malcolm Martineau did with Sarah Walker (and also Tom Krause on later volumes). The box version looks like this:



And now I'm a bit torn. I'm not sure that I want a set where one singer dominates to such an extent. And Sarah Walker's voice is, I feel, a touch too dramatic for some of this music.

And yet... there's no denying that her voice is good, and interpretatively  I can't say that she and Martineau have put a foot wrong anywhere in volume 1. She knocks Le jardin clos out of the park, which is one of the things I most want another version of.

[Madiel]

Thanks for the write-up, Madiel. Most informative, indeed.

No problem. It made more sense to put my thoughts here rather than in the WAYLTN thread.

[Florestan]

Madiel, are you familiar with this set? If yes, how would you rate it?



or the older version

[Madiel]

Madiel, are you familiar with this set? If yes, how would you rate it?



or the older version

I've sampled it at some point, yes. I don't have especially clear memories, other than concluding that Elly Ameling was good without quite being what I was looking for.

But I've no doubt it's at least decent. I understand that for a long time it was pretty much the go-to set.

...you're making me want to go try it now...

EDIT: That set of recordings doesn't seem to be on Deezer. That surprises me. Though much of Ameling's contribution appears on a box of her performances, so that's probably why I particularly remember hearing her.

[Mandryka]

A continuously intense treatment of Fauré, it never relaxes for a second,  I haven't heard the couple of Dukas tracks. Luminous and transparent. The structure of the music is really brought into relief. Her piano sound is diamantine, it's like being showered with diamonds.

I'm not sure about this, but I think she knew him and worked with him on the music. Or am I confusing her with Marguerite Long?

[Mandryka]

Apart from Nocturne 6 this is all pretty early music by Fauré. The piano is recorded slightly closely, which makes it sound a bit hard from time to time (listen to the extraordinary op 38 valse.) Two things struck me most. One was the extreme intensity. And the other was how Sanchez sometimes makes the melody of the music fuse with the accompaniment - I say fuse, not confuse.

Does he make the music sound too episodic? I think he probably does.

[SonicMan46]

Faure's Piano Works - listening to Faure's music the last few days - discovered that I own the 3 'piano' sets shown below (one would be enough for me but which to keep?) - Kathryn Stott from 1994; Jean-Philippe Collard, 1970-83; and Jean Doyen from 1972 (the latter MP3 recordings on a single CD-R - cannot remember where purchased?) - I like Stott the most, BUT the others are certainly well done - SO, preferences from others?  Also, 1994 for Stott is a while ago, any newer 'complete' collections worth exploring?  Thanks for any thoughts.  Dave

Kathryn Stott 1994  Jean Doyen 1972  Jean-Philippe Collard 1970-83
   

[Mirror Image]

Faure's Piano Works - listening to Faure's music the last few days - discovered that I own the 3 'piano' sets shown below (one would be enough for me but which to keep?) - Kathryn Stott from 1994; Jean-Philippe Collard, 1970-83; and Jean Doyen from 1972 (the latter MP3 recordings on a single CD-R - cannot remember where purchased?) - I like Stott the most, BUT the others are certainly well done - SO, preferences from others?  Also, 1994 for Stott is a while ago, any newer 'complete' collections worth exploring?  Thanks for any thoughts.  Dave

Kathryn Stott 1994  Jean Doyen 1972  Jean-Philippe Collard 1970-83
   

I haven't heard all of the available recordings of Fauré's piano music, but I haven't really looked around either considering how content and thoroughly impressed I am with Stott's Hyperion set. I have heard, and own, the Collard cycle but don't have favorable impressions of it --- it's a bit too rough for me and Collard isn't a pianist who has exactly made me say "Wow". I think of all the twists and turns that exist in this music, Stott seems to be completely in-tune with this kind of emotional world this music exists in. I'd say keep the Stott for sure.

[Madiel]

The only set I know is Stott.

As to more recent surveys, there is one by Jean-Claude Pennetier (separate volumes), I've no idea if it's any good. I can't find a lot of indications of reviews.

Paul Crossley is the 1980s so not newer. Same with Jean Hubeau and he doesn't seem to have great reviews at a glance. Germaine Thyssens-Valentin is even older than the recordings you've got I think...  and that's about it.

There really isn't a huge amount of activity in this field. In looking to see if I could find evidence of other cycles, I saw a snippet of a review describing Faure's music as amongst the most "subtly daunting" in the piano literature. Which seems about right to me.

[vers la flamme]

I have and really like the Jean-Philippe Collard. I think he has a great feel for this music, though he may be a little over-serious at times. I am also really impressed with what I've heard of Jean Hubeau's Fauré. If I were to buy a second set, which I won't, it would be Hubeau on Erato. I was less impressed with what I've heard of Stott, which sounded a little too delicate for my tastes, but I haven't heard much so I'll leave evaluation up to those who know the whole set.

[Ratliff]

Faure's Piano Works - listening to Faure's music the last few days - discovered that I own the 3 'piano' sets shown below (one would be enough for me but which to keep?) - Kathryn Stott from 1994; Jean-Philippe Collard, 1970-83; and Jean Doyen from 1972 (the latter MP3 recordings on a single CD-R - cannot remember where purchased?) - I like Stott the most, BUT the others are certainly well done - SO, preferences from others?  Also, 1994 for Stott is a while ago, any newer 'complete' collections worth exploring?  Thanks for any thoughts.  Dave

Kathryn Stott 1994  Jean Doyen 1972  Jean-Philippe Collard 1970-83
   

I have Stott, Collard (in the earlier EMI releases), Hubeau and Doyen. I also have single discs from Angela Hewitt and Pascal Roge. I've only listened to the Stott and Collard sets in their entirety and like both equally well. One thing that strikes me is that the impression a Faure piece makes on me can vary a lot depending on the performers; there is value in having more than one recording, more so than most composers I think.

...I was less impressed with what I've heard of Stott, which sounded a little too delicate for my tastes, but I haven't heard much so I'll leave evaluation up to those who know the whole set.

I seem to have the opposite impression, I like Stott a great deal but sometimes I get the impression that she bulldozes her way through pieces that could benefit from a bit more delicacy. All very subjective, of course.

[staxomega]

With 2020 being one of the most unusual years I imagine most (at least younger people) have lived through, the Beethoven 250 and the end of the decade it made me think hard about some year capping music to listen to. And Faure's Requiem came to mind; Giulini's recording in specific, one of my favorite albums of any genre and one of my favorite recordings in classical.

But since it is Beethoven 250 I will probably cap off the very last listening with Alban Berg's forward looking approach to Op. 130/133 from their live recording (far from my favorite performances, but I like it's progressive outlook). Or maybe the last thing will be Jonas Brothers if they're on TV again this year

[Mandryka]

What do you guys make of this op 121 quartet?

https://www.youtube.com/v/XTIYRZPhkeY&ab_channel=RonErickson

The note says that they're using an edition

based on Faure's autograph score. Faure did not live to complete the edition of his quartet with execution markings beyond the first few pages of his score. Faure's amanuensis, organist Roger-Ducasse, prepared the Durand edition, adding slurs throughout that obscure the vitality implicit in the original score. In particular, the contrast of expression between the two motifs at the opening of the first movement, implied in the dynamics, can be sharpened by accentuating the forte motif.

In the last movement, the rhythmic energy of articulated bowing suggests reference to the North African and Eurasian traditions in vogue in the early 1920s in France, of which Faure quite possible was aware. The drumming effect of the pizzicato in that movement parallels the conclusion of George Antheil's 2nd Violin Sonata (1924). Faure's guiding inspirations throughout the Quatour include the choral masterworks of the Renaissance and the harmonic ambiguity of the Lydian (augmented) tetrachord, expressed early in his song "Lydia," Op. 4. Our performance tried for the even spacing of the triplet figure of the main theme, but generally fell back on the usual duple rhythm that marrs all other renditions.

[amw]

Apart from Nocturne 6 this is all pretty early music by Fauré. The piano is recorded slightly closely, which makes it sound a bit hard from time to time (listen to the extraordinary op 38 valse.) Two things struck me most. One was the extreme intensity. And the other was how Sanchez sometimes makes the melody of the music fuse with the accompaniment - I say fuse, not confuse.

Does he make the music sound too episodic? I think he probably does.

I think it's very good despite the episodic nature; did a blind comparison of Barcarolle 3 for my own purposes a while back and the Sánchez recording ended up very high on the list. (though not my absolute favourite, which remains Damase)

What do you guys make of this op 121 quartet?

https://www.youtube.com/v/XTIYRZPhkeY&ab_channel=RonErickson

The edition sounds interesting. I'll wait for a studio recording by a more professionally established ensemble.

[Mandryka]

I think it's very good despite the episodic nature; did a blind comparison of Barcarolle 3 for my own purposes a while back and the Sánchez recording ended up very high on the list. (though not my absolute favourite, which remains Damase)
The edition sounds interesting. I'll wait for a studio recording by a more professionally established ensemble.

I'm afraid I don't like Sanchez much, he makes the music sound like all that stuff that Rachmaninov and Cherkassky played - Moszkowski, Schulz- Evler etc. Listening to Damase now and I'm sorry, it looks like Heidsieck is the only Fauré pianist for me.

(And the more I listen and the more I compare, the more I'm impressed by the Cassiopée sound!)

Do you have the Heidsieck barcarolles? I'm sure it's on symphonyshare but if not I can easily let you have it.

[amw]

Yes, have and know it as well as the Heidsieck Nocturnes now. The Barcarolles are very good, but I try not to give into obscurity bias or difficulty-to-acquire bias with these things and will eventually try another personal blind comparison with a different barcarolle.

[Mandryka]

One thing I did enjoy on Sanchez's recording is the impromptus - I've never explored that music, I'll have to do something about that.