Gabriel Fauré: The Songs and their Poets

Translations of the song texts by Richard Stokes

The career of Gabriel Fauré as a composer of songs for voice and piano traverses six decades (1862-1921); almost the whole history of French mélodie is contained within these parameters. In the 1860s Fauré, the lifelong protégé of Camille Saint-Saëns, was a suavely precocious student; he was part of Pauline Viardot's circle in the 70s and he nearly married her daughter. Pointed in the direction of symbolist poetry by Robert de Montesquiou in 1886 and admired by Proust, Fauré was the favoured composer of the Princesse de Polignac by the early 1890s. In 1905 he became Director of the Paris Conservatoire and he composed his most profound music in old age. His existence, steadily productive and outwardly imperturbable, was undermined by self-doubt, an unhappy marriage, and a tragic loss of hearing.

The distinguished accompanist and song scholar Graham Johnson places the vocal music within twin contexts: Fauré's own life story, and the parallel lives of his many poets. We encounter such giants as Charles Baudelaire and Paul Verlaine, the patrician Leconte de Lisle, the forgotten Armand Silvestre and the Belgian symbolist Charles van Lerberghe. The chronological range of the narrative encompasses Fauré's first poet, Victor Hugo, who railed against Napoleon III in the 1850s, and the last, Jean de la Ville de Mirmont, killed in action in the First World War.

In this comprehensive and richly illustrated study each of Fauré's 109 songs receives a separate commentary. Additional chapters for the student singer and serious music-lover discuss interpretation and performance in both aesthetical and practical terms. Richard Stokes provides parallel English translations of the original French texts.

In the twenty-first century musical modernity is evaluated differently than it was thirty years ago. Fauré is no longer merely a 'Master of Charms' circumscribed by the Belle Époque. His status as a modern master of timeless significance is now unassailable.

CONTENIDO:

Songs through life: an overview;
An indifference to success;
L'Aurore: second empire and first songs;
Lydia: war and peace on Parnassus;
Tarantelle: chez Mmme P. Viardot-Garcia: Le Voyageur: 1878, a transitional year of song;
Chanson d'Amour: bachelor and husband - the Silvestre years;
Larmes: crisis and 'décadence';
C'est l'Extase: Fauré and Paul Verlaine (I);
Fauré and Paul Verlaine (II);
Dans la Forêt de Septembre: crossing the divide - towards the late style;
Le Don Silencieux: interlude : the silent gift;
Eau Vivante: Fauré and Charles van Lerberghe (I);
Dans la Pénombre: Fauré and Charles van Lerberghe (II);
Je Me Suis Embarqué: Mirages and horizons;
The performance of Fauré's songs;
The pianists workshop;
Appendices;
Indexes.