Fauré Chamber Music

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Fauré Chamber Music

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dc.contributor.other Gabriel Fauré es
dc.contributor.other Krysia Osostowicz es
dc.contributor.other Susan Tomes es
dc.date.accessioned 2013-09-02T22:12:16Z
dc.date.available 2013-09-02T22:12:16Z
dc.date.issued 2013-09-02
dc.identifier.uri http://hdl.handle.net/123456789/3733
dc.description.abstract When Gabriel Fauré was a boy, Berlioz had just written La damnation de Faust and Henry David Thoreau was writing Walden. By the time of his death, Stravinsky had written The Rite of Spring and World War I had ended in the devastation of Europe. In this dramatic period in history, Fauré strove to bring together the best of traditional and progressive music and, in the process, created some of the most exquisite works in the French repertoire. He was one of the most advanced figures in French musical circles and influenced a generation of composers world-wide. Fauré was the youngest child of a school headmaster and spent many hours playing the harmonium in the chapel next to his father's school. Fauré's father enrolled the 9-year-old as a boarder at the École Niedermeyer in Paris, where he remained for 11 years, learning church music, organ, piano, harmony, counterpoint, and literature. In 1861, Saint-Saëns joined the school and introduced Fauré and other students to the works of more contemporary composers such as Schumann, Liszt, and Wagner. Fauré's earliest songs and piano pieces date from this period, just before his graduation in 1865, which he achieved with awards in almost every subject. For the next several years, he took on various organist positions, served for a time in the Imperial Guard, and taught. In 1871 he and his friends—d'Indy, Lalo, Duparc, and Chabrier—formed the Société Nationale de Musique, and soon after, Saint-Saëns introduced him to the salon of Pauline Viardot and Parisian musical high society. Fauré wrote his first important chamber works (the Violin Sonata No. 1 and Piano Quartet No. 1), then set out on a series of musical expeditions to meet Liszt and Wagner. Throughout the 1880s, he held various positions and continued to write songs and piano pieces, but felt unsure enough of his compositional talents to attempt anything much larger than incidental music. Fauré's pieces began to show a complexity of musical line and harmony which were to become the hallmarks of his music. He began to develop a highly original approach to tonality, in which modal harmony and altered scales figured largely. The next decade, however, is when Fauré came into his own. He was named composition professor at the Paris Conservatoire in 1896. His music, although considered too advanced by most, gained recognition amongst his musical friends. This was his first truly productive phase, seeing the completion of his Requiem, the Cinq Mélodies, and the Dolly Suite, among other works. Using an economy of expression and boldness of harmony, he built the musical bridge over which his students—such as Maurice Ravel and Nadia Boulanger—would cross on their journey into the twentieth century. In 1905, he was named director of the conservatory and made several significant reforms. Ironically, this position gave his works more exposure, but it reduced his time for composition and came when he was increasingly bothered by hearing problems. Fauré's works of this period show the last, most sophisticated stages of his writing, streamlined and elegant in form. During World War I, Fauré essentially remained in Paris and had another extremely productive phase, producing, among other things, Le Jardin clos and the Fantaisie for piano and orchestra, Op. 111, which show a force and violence that make them among the most powerful pieces in French music. In 1920 he retired from the school, and the following year gave up his music critic position with Le Figaro, which he had held since 1903. Between then and his death in 1924, he would produce his great, last works: several chamber works and the song cycle L'horizon chimérique. © AMG, All Music Guide es
dc.description.tableofcontents CD5-- Violin Sonata No. 1 in A major Op. 13 ; Allegro molto, Andante, Allegro vivo, Allegro quasi presto-- Violin Sonata No. 2 in E minor Op. 108 ; Allegro non troppo, Andante, Allegro non troppo-- es
dc.format.extent 49:47 min. es
dc.format.medium 1 CD Rom (49 min., 47 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 57467657 es
dc.subject.lcsh Sonatas (Violin and Piano) es
dc.title Fauré Chamber Music es
dc.title.alternative Fauré Violin Sonatas es
dc.title.alternative Violin Sonata No. 1 in A major Op. 13 : Violin Sonata No. 2 in E minor Op. 108 es
dc.title.alternative Fauré Música de Cámara es
dc.title.alternative Fauré Sonatas para Violin es
dc.title.alternative Sonatas para Violin No. 1 en A mayor Op. 13 : Sonatas para Violin No. 2 en E menor Op. 108 es
dc.language.rfc3066 eng es
dc.rights.holder Hyperion Records Ltd es
dc.identifier.classification 5028421923376 es
dc.subject.cdu Fau.08 es


Files in this item

Files Length Size Format View Description
1. Violin Sonat ... Op. 13 - Allegro molto.mp3 9:26 12.93Mb MPEG Audio mp3
2. Violin Sonat ... major Op. 13 - Andante.mp3 7:23 10.14Mb MPEG Audio mp3
3. Violin Sonat ... Op. 13 - Allegro vivo.mp3 4:04 5.571Mb MPEG Audio mp3
4. Violin Sonat ... - Allegro quasi presto.mp3 5:17 7.251Mb MPEG Audio mp3
5. Violin Sonat ... 8 - Allegro non troppo.mp3 8:34 11.75Mb MPEG Audio mp3
6. Violin Sonat ... inor Op. 108 - Andante.mp3 8:37 11.81Mb MPEG Audio mp3
7. Violin Sonat ... 8 - Allegro non troppo.mp3 6:08 8.419Mb MPEG Audio mp3
Violin Sonata N ... ajor Op. 13 - Completo.wav 26:00 262.3Mb WAV audio wav
Violin Sonata N ... nor Op. 108 - Completo.wav 23:13 234.2Mb WAV audio wav

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