Gabriel Fauré (Faure)

[aligreto]

Fauré: Sonata for Cello & Piano No. 2:

This composition is a somewhat curious juxtaposition of both the robust and the poignant. There is certainly no lack of musical ideas and the work sounds fresh and buoyant in the outer movements with, perhaps understandably and given ill health, that later life contemplation of mortality in the atmospheric and elegiac central slow movement. The cello sings along throughout the work but, for me, the attraction for me is in the writing for the piano lines. It is ebullient in the outer movements. The music is always lyrical and very engaging.
The music of the first movement is propelled along by the constant drive of the piano lines. The tone of the music of the cello voice in the opening movement is contemplative and meditative, if not quite melancholy.
The intensity of tone in the slow movement is wonderful. I find the steady accompaniment of the piano to be reminiscent of a funeral march, which, of course in its original conception and iteration, it was.
The tone of the final movement is quite upbeat, ebullient and optimistic. Once again, I find that the piano lines dictate and determine the energy and drive of the music; it is its powerhouse.
The final movement is always energetic, sometimes exuberant and it concludes with terrific drive and excitement, particularly those flurries in the piano line.

[aligreto]

Faure: Sonata for Cello & Piano No. 2 [Igloi/Benson]





Benson's playing is sparkling in the first movement. I am not a fan of the playing of the cello line here by Igloi. I find it somewhat lacking in emotion and fluidity and lacking the requisite presence, perhaps. It does not help that the cello sounds very dry in this recording, particularly in the higher register notes; an issue that I do not perceive with the piano. These aspects of the recording are particularly noticeable in the slow movement where the voice of the cello is more prominent. The piano lines in the final movement dictate everything and, once again, Benson excels.

[aligreto]

Faure: Sonata for Cello & Piano No. 2 [P. Tortellier/Heidsieck]





The first thing that I notice, comparatively, is the vivid presence of the cellist Tortellier. His efforts in this recording are superior to that of Igloi, to my ear. Tortellier's presence is very apparent from the outset and equal with that of the pianist. The cello playing is ardent, assertive and intense. The slow movement is not lacking in emotional delivery; the performance is engaging but not, however, compelling. Once again, I am not fully satisfied with the recorded sound of the cello. It sounds dry to my ears. Heidsieck does more than very well on the piano but Benson has set the interpretative benchmark for me and it is not surpassed here despite a very good performance by Heidsieck. Heidsieck's performance in the final movement is superlative, however. It is buoyant and assertive.

[aligreto]

Faure: Sonata for Cello & Piano No. 2 [Isserlis/Devoyon]





The first thing that I notice, comparatively, is how lyrical this presentation of the first movement is by both musicians and yet also how intense it is at the same time. There is a wonderful underlying tension throughout the movement. This is created by the dichotomy of the free flowing, somewhat upbeat tone of the piano line under that intense cello line. The slow movement is an ardent performance; it smoulders with a quiet intensity and  plaintiveness. It is never overly melancholy but rather poignant and profound with the added edge of that intensity. Devoyon's pianism is often very subtle and understated but is always very present in the recording. This is a truly a wonderful interpretation and presentation. There is a wonderful conversation going on between the instrumentalists in the final movement; a real earnest discussion in places. It is very exciting and engaging.

[aligreto]

Faure: Sonata for Cello & Piano No. 2 [Bruns/Ishay]





From the opening notes this presentation sounds different, comparatively speaking. It is a bit of a jolt but in a good way, for me. It is so because it is played on two period instruments. The piano is an Érard, a favoured instrument by Faure apparently. That will no doubt mean something to those with a greater ear than mine [but I must say that it does sound wonderful]. The sonorities and presentation of both instruments sound very different to what has gone before in this comparison. The wonderful slow movement is where these two instruments really shine and come into their own and they are wonderfully balanced in a very natural sounding recording. It is a very attractive performance. The final movement is a very exciting performance and both instrumentalists contribute to this sense of adventure. It is a fitting conclusion to a compelling performance. In the notes the performers draw attention to Fauré's insistence on rhythmic playing with minimal rubato which they adhere to, particularly on the piano. This lends a different and interesting perspective to the phrasing of the music which, in turn, gives a different and interesting flavour to this interesting and exciting presentation. 

[Madiel]

I don't think I've ever done comparative listening to that degree. I have Tortelier/Heidsieck but I don't love those performances... I think I have a problem with Heidsieck, though if you look back somewhere on this forum you'll find where I initially thought it was Tortelier!

Anyway, like my other Faure chamber music I ended up with the Hyperion label:

[North Star]

Ophélia Gaillard's recording of the cello works is wonderful, finding a physical copy might be difficult.
https://www.youtube.com/v/v=_zZkGsdrfDY&list=OLAK5uy_lbH4q9W8ZrC213s0PeUNm0uC0B-5h_smg

[vers la flamme]

I have Tortelier/Hubeau as a cheap Apex reissue, also featuring the Debussy Cello Sonata. Love that disc. That Hyperion one looks nice though; that label has done a great job with Fauré.

[Spotted Horses]

Faure: Sonata for Cello & Piano No. 2 [Bruns/Ishay]





From the opening notes this presentation sounds different, comparatively speaking. It is a bit of a jolt but in a good way, for me. It is so because it is played on two period instruments. The piano is an Érard, a favoured instrument by Faure apparently. That will no doubt mean something to those with a greater ear than mine [but I must say that it does sound wonderful]. The sonorities and presentation of both instruments sound very different to what has gone before in this comparison. The wonderful slow movement is where these two instruments really shine and come into their own and they are wonderfully balanced in a very natural sounding recording. It is a very attractive performance. The final movement is a very exciting performance and both instrumentalists contribute to this sense of adventure. It is a fitting conclusion to a compelling performance. In the notes the performers draw attention to Fauré's insistence on rhythmic playing with minimal rubato which they adhere to, particularly on the piano. This lends a different and interesting perspective to the phrasing of the music which, in turn, gives a different and interesting flavour to this interesting and exciting presentation.

This is really an exquisite disk, beautifully performed and the period instruments give the music a refreshing sound (and probably contribute to the difference in interpretation).

Another version I have recently enjoyed (more than Tortelier) was the Lodeon/Collard on EMI. (I found two mentions of the Tortelier/Heidsieck in my listening notes. It seems I only liked it the second time around.)

[Que]

Ophélia Gaillard's recording of the cello works is wonderful, finding a physical copy might be difficult.
https://www.youtube.com/v/v=_zZkGsdrfDY&list=OLAK5uy_lbH4q9W8ZrC213s0PeUNm0uC0B-5h_smg

I am also very impressed by that one!  The best on modern instruments I've heard sofar. Gaillard is matched by a great pianist.

I need to check out the Bruns/Ishay, because I was definitely not so much impressed by the - to my knowledge - only other performance on period instruments:

[SonicMan46]

Faure has appeared for today's selective listening to my collection - have a single disc of his orchestral works w/ Tortelier & the BBC PO - not great and a mediocre review in Fanfare - any other possibly 2-disc options?  Now, I already have 2 versions of the Requiem, so don't need another, plus no songs please.

As to the Cello Sonatas, I've been adding and culling for years and the two shown are fine w/ me; the Bruns/Ishay recording has been in my collection for decades and in contrast to many other performances, Bruns uses 'gut strings' on his cello and Ishay plays a period Érard piano.  Dave

   

[SonicMan46]

Continuing and comparing the Piano Quartets & Quintets, some of my favorite Faure - own 2 versions of each and must say listening, all are excellent - don't believe I need to add more (and no culling this time!) - reviews attached for those interested and have not acquired these works.  Dave

     

[VonStupp]

Faure has appeared for today's selective listening to my collection - have a single disc of his orchestral works w/ Tortelier & the BBC PO - not great and a mediocre review in Fanfare - any other possibly 2-disc options?  Now, I already have 2 versions of the Requiem, so don't need another, plus no songs please.

Dave, For my money, Ozawa's single disc recording of Fauré's orchestral music is easily in my top 5 from that conductor. But, I also think Fauré's orchestral music is absolutely beautiful too.

More comprehensively though, Plasson on EMI has a lot of his orchestral and concertante music all bundled together on an EMI Gemini series.

But that is with my money! 

VS

[Madiel]

Interesting that you have the Domus quartets but not the Domus quintets, which I would argue are even finer.

[SonicMan46]

Dave, For my money, Ozawa's single disc recording of Fauré's orchestral music is easily in my top 5 from that conductor. But, I also think Fauré's orchestral music is absolutely beautiful too.

More comprehensively though, Plasson on EMI has a lot of his orchestral and concertante music all bundled together on an EMI Gemini series.

But that is with my money! 

VS

Thanks VS - just ordered a used copy of the Plasson 2-disc EMI set from Amazon, some overlap but I read better reviews of the performances vs. the single disc w/ Tortelier, but will likely keep for a handful of pieces including the Dolly Suite.  Dave

[SonicMan46]

Interesting that you have the Domus quartets but not the Domus quintets, which I would argue are even finer.

Well, I've heard the Domus in the Quintets and would be happy w/ them, but the two that I own seem to favor my ears more -    So, just a matter of minor differences in taste, I guess - any of those performances should please, and there are plenty of others of both the quartets and quintets.  Thanks for responding.  Dave

[Herman]

Faure has appeared for today's selective listening to my collection - have a single disc of his orchestral works w/ Tortelier & the BBC PO - not great and a mediocre review in Fanfare - any other possibly 2-disc options?  Now, I already have 2 versions of the Requiem, so don't need another, plus no songs please.

As to the Cello Sonatas, I've been adding and culling for years and the two shown are fine w/ me; the Bruns/Ishay recording has been in my collection for decades and in contrast to many other performances, Bruns uses 'gut strings' on his cello and Ishay plays a period Érard piano.  Dave

If you're into Fauré's chamber music, you probably have some versions of his two final works, the Piano Trio, op 120, and the String Quartet, Op 121. These two works are IMO Fauré's nec plus ultra.

[SonicMan46]

If you're into Fauré's chamber music, you probably have some versions of his two final works, the Piano Trio, op 120, and the String Quartet, Op 121. These two works are IMO Fauré's nec plus ultra.

Hi Herman - I own 2 or 3 versions of each of those works since often combined w/ other desirables, like Faure/Debussy/Ravel in the String Quartets - thanks!    Dave

[71 dB]

My Fauré CD collection:

Nocturnes Nos. 1-6 + Theme and Variations, Op 73 - Jean Martin - Naxos 8.550794
Nocturnes Nos. 7-13 + Préludes + Romances - Jean Martin - Naxos 8.550795
Barcarolles + Ballade, Op.19 - Pierre-Alain Volondat - Naxos 8.553634
Préludes, Op. 103 + Impromptus - Pierre-Alain Volondat Naxos - 8.553740
Pelléas et Mélisande + Valses-caprices + Mazurka + Pavane - Pierre-Alain Volondat - Naxos 8.553741
Four Hand Piano Music - Pierre-Alain Volondat & Patrick De Hooge - Naxos 8.553638
Requiem + Messe basse + Cantique de Jean Racine - Jeremy Summerly - Naxos 8.550765
Violin Sonatas Nos. 1 & 2 + Berceuse + Romance + Andante - Dong-Suk Kang & Pascal Devoyon - Naxos 8.550906
Masques et Bergamasques + Dolly Suite + Shylock + Pelléas et Melisande + Berceuse - John Georgiadis - Naxos 8.553360
String Quartet, Op. 121 - Ad Libitum Quartet - Naxos 8.554722
Une Châtelaine en sa Tour, Op. 110 + Impromptu, Op. 86 - Judy Loman - Naxos 8.554561
Sicilienne, Op. 78 + Berceuse, Op. 16 - Nora Shulman & Judy Loman - Naxos 8.554166
Requiem - Philippe Herreweghe - HMC 901771
Violin Concerto + Berceuse + Elegie + etc. - Enrique Batiz - CD DCA 686
Piano Quintets 1 & 2 - Peter Orth & Auryn Quartett - CPO 999 357-2
Piano Quartets 1 & 2 - Trio Wanderer & Antoine Tamestit - HMC 902032
Piano Quintets 1 & 2 + Piano Quartets 1 & 2 - Pascal Rogé & Quatuor Ysaÿe - Decca 475 187-2
Musique de chambre I + II [3+2 CDs] - various artists - EMI 0946 336126 2 4

[Mandryka]

Did Verdi really steal Fauré's Dies Irae?

https://www.camerondodds.com/dies-irae