Gabriel Fauré (Faure)

[Jo498]

The Walker/Nash CRD recording of La bonne chanson is included in the Brilliant Classics Fauré chamber music box which is overall very good and probably easier to get than the original CRD issue.

[Baron Scarpia]

Starting to listen to Faure Piano Quartets and Quintets. I started at the beginning, with the Piano Quartet No 1 (the earliest work). The recording is by Domus, on Hyperion

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This early work of Faure strikes me as not exhibiting the composer's fully formed style. The overall impression I get is a respect for Brahms, infused with French elegance. In the later works for piano and strings the piano part often consists of flowing arpeggios and figuration that implies rather than states a harmonic foundation for the music. In this work the piano part has a forthright style that reminds me of Brahms. Beginning in the first movement, there is a lot of imitative counterpoint in the string parts and a fairly clear sonata-allegro form, with a typical motif-based first theme and lyrical second theme. The Scherzo, highlighting pizzicato strings, is centered on a wonderfully playful piano theme. The slow movement is expressive without becoming maudlin, and there is a appropriately vigorous finale. It is a very satisfying work, even if it is not the epitome of Faure's style.

[San Antone]

Starting to listen to Faure Piano Quartets and Quintets. I started at the beginning, with the Piano Quartet No 1 (the earliest work). The recording is by Domus, on Hyperion

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This early work of Faure strikes me as not exhibiting the composer's fully formed style. The overall impression I get is a respect for Brahms, infused with French elegance. In the later works for piano and strings the piano part often consists of flowing arpeggios and figuration that implies rather than states a harmonic foundation for the music. In this work the piano part has a forthright style that reminds me of Brahms. Beginning in the first movement, there is a lot of imitative counterpoint in the string parts and a fairly clear sonata-allegro form, with a typical motif-based first theme and lyrical second theme. The Scherzo, highlighting pizzicato strings, is centered on a wonderfully playful piano theme. The slow movement is expressive without becoming maudlin, and there is a appropriately vigorous finale. It is a very satisfying work, even if it is not the epitome of Faure's style.

That CD was one of my earliest classical purchases.  I always enjoyed it.

[kyjo]

The two piano quartets are two of my favorite Fauré works. Though they may not be as individual as his late chamber works, they're filled with passion and melodic appeal that's not as present in his later works (that's not a criticism). The slow movements of both quartets, in particular, are so deeply felt.

[Baron Scarpia]

The two piano quartets are two of my favorite Fauré works. Though they may not be as individual as his late chamber works, they're filled with passion and melodic appeal that's not as present in his later works (that's not a criticism). The slow movements of both quartets, in particular, are so deeply felt.

After listening again, I agree that the slow movement of the first piano quartet is a true gem. But I think if I had heard this piece on the radio, I think I might mistake it for some Brahms I didn't recognize, or possible Mendelssohn. It seems to emulate German models. Perhaps the exception is the finale, where I find myself in the weeds, not really grasping what Faure is doing.

On to the second quartet. (To confess, I've listened to all of the piano quartets and quintets for an initial run-through, and the second quintet shapes up to be my most favorite among these works. But I will not comment until I have come to terms with each in a second listen.) I think when I've gone through the Domus set I will listen to the other set of recordings I have, Pascal Roge and the Quatour Ysaye.

[Que]

My recommendation for an alternative recording:

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[Baron Scarpia]

That does look attractive, but currently I'm observing CD buying austerity. So I'm afraid I'm limited to recordings on hand (Domus, Ysaye/Roge, Quatuor Parrenin/Collard, Quatuor Via Nova/Hubeau). Tragic, I know.

[Draško]

That does look attractive, but currently I'm observing CD buying austerity. So I'm afraid I'm limited to recordings on hand (Domus, Ysaye/Roge, Quatuor Parrenin/Collard, Quatuor Via Nova/Hubeau). Tragic, I know.

Francois/Quatour Bernede No.1 in Francois box?

[kyjo]

After listening again, I agree that the slow movement of the first piano quartet is a true gem. But I think if I had heard this piece on the radio, I think I might mistake it for some Brahms I didn't recognize, or possible Mendelssohn. It seems to emulate German models. Perhaps the exception is the finale, where I find myself in the weeds, not really grasping what Faure is doing.

Personally, I could never mistake the first piano quartet for Brahms or Mendelssohn. Right off the bat, the first theme of the first movement has a modal, unmistakably Gallic flavor, as does the scherzo in its rhythmic quirkiness and lightness of touch. Throughout the work, Fauré's sense of harmony, though certainly more conventional and less elusive than in his later works, already has an unpredictability and uniqueness to it, at least to my ears.

[Baron Scarpia]

Francois/Quatour Bernede No.1 in Francois box?

I had no idea it was in there! Who knows how many other recordings I have of the work. 

[Madiel]

Personally, I could never mistake the first piano quartet for Brahms or Mendelssohn. Right off the bat, the first theme of the first movement has a modal, unmistakably Gallic flavor, as does the scherzo in its rhythmic quirkiness and lightness of touch. Throughout the work, Fauré's sense of harmony, though certainly more conventional and less elusive than in his later works, already has an unpredictability and uniqueness to it, at least to my ears.

Same.  While I do understand why Faure is sometimes called "the French Brahms" the similarities are not strong and I think it's largely just a result of trying to find a touchstone for a composer who very much has his own voice.

And is not nearly as well known as he should be. Mostly, I think, because his music is simultaneously very hard to perform and doesn't sound hard.

[snyprrr]

I had no idea it was in there! Who knows how many other recordings I have of the work. 

byproduct of CDCDCD

[Baron Scarpia]

Same.  While I do understand why Faure is sometimes called "the French Brahms" the similarities are not strong and I think it's largely just a result of trying to find a touchstone for a composer who very much has his own voice.

I don't recall Faure being described as the French Brahms, nor would it occur to me to make such a comparison. But the use of piano in the first movement in particular of the Piano Quartet No 1 struck me as not exhibiting Faure's unique style of writing for piano and reminded me German models.

I've made my way through the first two movements of the second Piano Quartet and, even though it is also an early work, the impression I get is that it is exhibiting what I think of a Faure's own style to a much greater degree.

[Baron Scarpia]

Completed my careful listening to the second Piano Quartet

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I don't find this work quite as engaging as the first piano quartet. The outer movements are more clamorous than their counterparts in the first piano quartet (more 'romantic' less classical') and I don't find the slow movement to be as captivating. Still a worthy work.

Now, on to the Piano Quintets, which seem to be far less popular (based on the number of recordings available) although I generally prefer them to the Piano Quartets.

[Madiel]

I think I might mistake it for some Brahms I didn't recognize, or possible Mendelssohn.

I don't recall Faure being described as the French Brahms, nor would it occur to me to make such a comparison.

[Baron Scarpia]

This early work of Faure strikes me as not exhibiting the composer's fully formed style. The overall impression I get is a respect for Brahms, infused with French elegance.

After listening again, I agree that the slow movement of the first piano quartet is a true gem. But I think if I had heard this piece on the radio, I think I might mistake it for some Brahms I didn't recognize, or possible Mendelssohn. It seems to emulate German models. Perhaps the exception is the finale, where I find myself in the weeds, not really grasping what Faure is doing.

I don't recall Faure being described as the French Brahms, nor would it occur to me to make such a comparison. But the use of piano in the first movement in particular of the Piano Quartet No 1 struck me as not exhibiting Faure's unique style of writing for piano and reminded me German models.

I should clarify. My impression as I have expressed it above is that the first Piano Quartet specifically is an early work written before Faure had formed his mature style, and which struck me as influenced by German models such as Brahms or Mendelssohn. This does not imply that Faure is "the French Brahms" or that his mature style is derived from Brahms.

[Madiel]

Oh look, whatever you need to do in order to disagree with me, knock yourself out.

He reminded you of Brahms but it would never occur to you to compare him to Brahms. Got it.

[Baron Scarpia]

Oh look, whatever you need to do in order to disagree with me, knock yourself out.

I am not aware of having disagreed with you, only with those unnamed people who call Faure "the French Brahms."

[Baron Scarpia]

He reminded you of Brahms but it would never occur to you to compare him to Brahms. Got it.

I thought an early work reminded me of Brahms, his mature style does not strike me as derived from or heavily influenced by Brahms. Is this something you really want to bicker over?

[Madiel]

Your opinion of Brahms or of Faure is not the issue. Your emphatic declaration that a comparison between the two would never occur to you is the issue.

Why exactly do you think I ever mentioned Brahms in the first place? You acted as if I conjured the idea out of thin air.