About one hundred years ago, on November 4th, 1924, Gabriel Fauré, the most elegant and certainly most underrated of the great French composers, passed away. Underrated, because his personality – jovial, serious, and humble – did not make him a magnet for fame and popularity. Above all, the immediate charm of his music, sometimes mistakenly described as “easy” or overly charming, often demands a great degree of technical and stylistic mastery from the performer. This is particularly true for several of his piano works, which are intimate portraits that, while never veering into the spectacular, remain highly complex to execute. The effort required to master his later Nocturnes or Barcarolles does not yield the same “return on investment” in terms of fame and recognition as works by Beethoven, Chopin, or Liszt. The same applies to his mélodies, whose exquisite refinement appeals to both novices and connoisseurs alike, requiring from the performer a perfect mastery of the French language and style. As for his chamber music – comparable in quality to the works by Brahms and Beethoven – it remains somewhat on the fringes of the usual repertoire, even though it is performed and recorded more frequently.
You may have guessed that I have immense respect for Gabriel Fauré, the musical painter of clair-obscur, who has accompanied me for many years. Along with Debussy and Ravel – for whom he was one of their teachers – Fauré remains essential for understanding late 19th- and early 20th-century music. Here are five 2024 releases that will provide you with a high-quality introduction to the composer or help you deepen your appreciation of this repertoire if you have already explored it.
The Requiem of Serenity
Fauré: Requiem (1893 version)
Le Concert Spirituel
Hervé Niquet
Alpha 1014
Fauré’s Requiem is undoubtedly the composer’s best-known work and could be described as the most luminous and optimistic requiem in the repertoire, alongside that of Duruflé. In addition to the lesser-known first version from 1888, there are two other versions of this important composition that you should be familiar with. First, there is the so-called “church version” (1893), for a small chamber ensemble without violins, except for a solo in the “Sanctus.”.Then, there is the most well-known version, the one for symphony orchestra (1900), re-orchestrated to better suit concert halls. French conductor Hervé Niquet, emerging from the Baroque movement, has chosen the 1893 version for his beautiful recording. The choral performances, as well as those of soprano Emőke Baráth and baritone Philippe Estèphe, are perfect within the intimate setting established by the conductor. The Latin pronunciation follows the Gallican style, as was customary in France at the end of the 19th century.
Bolstered by excellent sound that preserved the warmth and soothing acoustic reverberation inside the Chapelle de Conflans in Charenton-le-Pont (featuring a magnificent organ), the conductor transports us directly into the heart of the venue – you can almost believe you are there! One minor drawback is that some tempos in Fauré’s Requiem may be a bit too fast, but this reinforces the impression of attending an actual church service. While it does not surpass the definitive reference recording by Philippe Herreweghe (Harmonia Mundi, 1988), Niquet’s version is still a top-tier interpretation. The additional pieces on the album maintain the same high quality. As for the 1900 version of the Requiem, Herreweghe’s recording remains the gold standard – a poignant and beautifully recorded rendition, coupled with a sumptuous version of César Franck’s Symphony in D minor (Harmonia Mundi).
The Intimacy of the Piano
Fauré: Nocturnes and Barcarolles
Aline Piboule
Harmonia Mundi France HMM 902510
Fauré’s catalog is filled with recordings of his piano works. In this category, a few albums have truly stood out in recent years. One immediately thinks of Louis Lortie’s two albums on Chandos, with their brilliant programming and soft-focus recording, and especially Michel Dalberto’s flawless album on Aparte, captured in miraculous sound quality.
So what about the new piano releases marking the centenary of Fauré’s death? Frankly, we are disappointed. What on earth are the record labels doing? Where are the best French pianists? I’ll wager the stars chosen to play these works adore Fauré, but their record labels likely deemed this repertoire unmarketable.
Fortunately, two recordings save the day. First, the excellent complete set by Laurent Wagschal (Indesens), which, despite an overly reverberant recording, is stylistically solid, though it does not shake up existing references. More importantly, we have the recording by the brilliant Aline Piboule (Harmonia Mundi France). The French label made a wise choice in inviting this pianist – who is sadly too rare on record – to dedicate a recital to Barcarolles Nos. 3, 4, 5, 9, 12, and 13, along with Nocturnes Nos. 5, 9, 11, 12, and 13.
Scattered throughout Fauré’s career, these works allow listeners to grasp the transformation of his style, initially influenced by Chopin and Schumann in the 1880s, before evolving into a more personal and complex language around 1900. Piboule’s Fauré is both intimate and powerfully evocative. Her style is refreshingly sincere, avoiding any artificial effects, and she plays on a 1929 Gaveau piano, whose rounder tones contrast beautifully with modern instruments. A brilliant achievement, magnificently recorded.
If you are looking for all 13 Nocturnes and Barcarolles, Marc-André Hamelin’s recording on Hyperion is an admirable, if not essential, choice. And if you want a complete set including the Préludes and other piano works, Paul Crossley’s legendary recording (CRV) remains unsurpassed, despite its somewhat hazy sound quality. For superior sound, turn to Pennetier’s version on Mirare, which presents the pieces in chronological order rather than grouped by cycles.
A Baritone for the Ages
Fauré: La Bonne Chanson; L’Horizon Chimérique; Ballade for piano; Mélodies
Stéphane Degout (baritone) and Alain Planès (piano)
Harmonia Mundi France HMM 902382
This album, released last May, is a pure marvel. The program, to begin with, is perfect for anyone wanting to discover Fauré’s most beautiful mélodies under the best circumstances. It features two major song cycles representing two different eras and styles: La Bonne Chanson, Op. 61, composed between 1892 and 1894 to poems by Paul Verlaine, and L’Horizon Chimérique, Op. 118, composed in 1921 and inspired by the poetry of Jean de La Ville de Mirmont. This is the crème de la crème of Fauré’s melodic universe, with pieces such as “Une Sainte en son auréole” and “J’ai presque peur en vérité” from La Bonne Chanson, as well as “Je me suis embarqué” from L’Horizon Chimérique.
The album also holds other treasures, including the song cycles Le Jardin Clos, Op. 106, and Mirages, Op. 113, along with various standalone mélodies and the superb Ballade for Piano, Op. 19. The performers are simply outstanding. Degout, with his baritone range, is utterly captivating, whether as a narrator or a character, bringing deep engagement and an impeccable understanding of the text. As for Alain Planès on piano (playing an 1892 Érard model), he does far more than merely accompany. We have never heard such symbiosis between voice and piano, between text and music – not even with Paul Crossley accompanying Gérard Souzay in the same repertoire (Philips). Special mention should also go to the clear and insightful liner notes by Denis Herlin. The sound is excellent, perfectly balanced between the singer and the piano. If you’re interested in a recent complete recording of Fauré’s mélodies, try the one by tenor Cyrille Dubois and pianist Tristan Raës (Aparte), which is beautifully recorded.
The (Too) Rare Violin Concerto
Fauré: Violin Concerto and Orchestral Works
Pierre Fouchenneret (violin)
National Symphony Orchestra of Ireland
Jean-Luc Tingaud
Naxos 8574587
In just a few weeks, the sparse discography of Fauré’s Violin Concerto, Op. 18, has been enriched by two remarkable interpretations: one by Renaud Capuçon (both soloist and conductor) on Deutsche Grammophon, and another by Pierre Fouchenneret and Jean-Luc Tingaud on Naxos. We couldn’t have asked for more for a work that, while charming, is not necessarily the greatest achievement in its genre.
For this review, I chose the Naxos recording, primarily because of Tingaud’s assured and nuanced conducting. His program is also the most interesting. He opens with the “Prélude” from Pénélope, Fauré’s only opera. Tingaud masterfully brings out the sublime maritime colors of this high-quality lyrical work, which truly deserves more frequent performances.
In the Violin Concerto, soloist Pierre Fouchenneret delivers a performance on par with Capuçon’s, but Tingaud’s conducting is clearly superior to that of his colleague. Also noteworthy is his wonderfully inspired interpretation of the Dolly Suite, Op. 56, originally written for piano four hands and later arranged for orchestra by Henri Rabaud. The other orchestral pieces featuring soloists on this album – the “Romance” for violin and piano arranged by Philippe Gaubert and the “Fantaisie” for flute and piano arranged by Louis Aubert – are of the same high quality.
In the end, this is the ideal album for any music lover looking to explore Fauré’s orchestral repertoire – at an affordable price, no less. The recording is very natural and well-balanced.
Pure Luxury
Fauré: Complete Chamber Music with Piano; 13 Nocturnes
Éric Le Sage (piano)
Alpha 1095
Last March, Alpha reissued, as a 6-CD set, the superb complete recording of Gabriel Fauré’s chamber music with piano, built around pianist Éric Le Sage, now including his brilliant 2019 recording of the 13 Nocturnes. The original box set, without the Nocturnes, remains available for digital download (Alpha 228), as do the Nocturnes themselves (Alpha 414).
It must be emphasized from the outset that Fauré’s chamber music repertoire rivals in quality that of Brahms, or even Beethoven. Éric Le Sage, one of today’s finest French pianists, chose to omit works for strings alone from his collection – such as the significant String Quartet and some standalone pieces for cello and violin – beautiful compositions, though less essential to this set. Le Sage and his fellow musicians, all outstanding performers, adopt a distinctly French stylistic approach, often drawing Fauré’s music closer to that of César Franck.
The highlights of the box set include the Violin Sonatas – with Daishin Kashimoto delivering a highly expressive, romantic performance – and the Piano Quintets, in which members of the Quatuor Ébène demonstrate remarkable ease and mastery.
In absolute terms, the complete set recorded in the 1970s around Philippe Collard – now reissued in a budget-friendly 12-CD box set that includes Collard’s excellent complete piano works and Michel Plasson’s orchestral recordings – remains slightly more accomplished but suffers from weaker sound quality. There is also the Erato collection, centered around French violinist Renaud Capuçon, which offers truly remarkable performances but is unfortunately let down by poor recording quality.
Given this, the Alpha box set remains the top choice for anyone looking to own Fauré’s chamber music in a single, high-quality edition.
Gabriel Fauré. Courtesy of Wikipedia/public domain.
Whether you are new to Gabriel Fauré’s music or already familiar with his work, these albums provide a wonderful opportunity to (re)discover one of the greatest French composers. His influence on later composers, including Debussy and Ravel, is undeniable. One hundred years after his death, let us celebrate his legacy by listening to his music.
Header image courtesy of Wikipedia/John Singer Sargent/public domain.
