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"Gabriel Fauré’s La bonne chanson, Op. 61 is a song cycle of nine songs. The cycle was composed between 1892 and 1894, while Fauré was having an affair with an amateur singer, Emma Bardac. Fauré’s selection of Paul Verlaine’s poems reflects his own emotional journey at the time. Musically, Fauré utilized several recurring elements to bring coherence to the cycle. However, while many sources focus on the occurrences of these themes, they do not examine whether or not these musical elements have a connection to the overall story which is integral to the cycle. Therefore, I was motivated to analyze this cycle with two goals. The first goal is to uncover the hidden story suggested by Fauré’s selection and order of Verlaine’s poems. The second goal is to investigate connections between the recurring musical themes and the story. I have identified two central ideas that define the hidden story of La bonne chanson. The first central idea is the narrator’s hope to be guided by his beloved. The second central idea is his hope of new life. In the music, there are six recurring musical elements that depict and support these two central ideas. In other words, under Fauré’s organization of song sequence and the recurring musical elements, one can see that the narrator’s hopes of his beloved’s guidance and new life are fulfilled. In this paper, I will first examine how the two central ideas stem from the lives of Verlaine and Fauré. Next, I will introduce the six recurring musical elements that support these central ideas. Then, in my analysis, I will examine how these six elements depict the two central ideas that drive the development of the story. In the end, I will provide performance insights for musicians who are preparing or teaching this cycle. In conclusion, this paper aims to provide collaborative pianists and vocalists with a better appreciation of the cycle’s overall structure and musical elements in order to inspire them to give a more meaningful performance"--Abstract.
Gabriel Fauré’s mélodies offer an inexhaustible variety of style and expression that have made them the foundation of the French art song repertoire. During the second half of his long career, Fauré composed all but a handful of his songs within six carefully integrated cycles. Fauré moved systematically through his poetic contemporaries, exhausting Baudelaire’s Les fleurs du mal before immersing himself in the Parnassian poets. He would set nine poems by Armand Silvestre in swift succession (1878-84), seventeen by Paul Verlaine (1887-94), and eighteen by Charles Van Lerberghe (1906-14). As an artist deeply engaged with some of the most important cultural issues of the period, Fauré reimagined his musical idiom with each new poet and school, and his song cycles show the same sensitivity to the poetic material. Far more than Debussy, Ravel, or Poulenc, he crafted his song cycles as integrated works, reordering poems freely and using narratives, key schemes, and even leitmotifs to unify the individual songs. The Fauré Song Cycles explores the peculiar vision behind each synthesis of music and verse, revealing the astonishing imagination and insight of Fauré’s musical readings. This book offers not only close readings of Fauré’s musical works but an interdisciplinary study of how he responded to the changing schools and aesthetic currents of French poetry.
The career of Gabriel Faur?s a composer of songs for voice and piano traverses six decades (1862-1921); almost the whole history of French m?die is contained within these parameters. In the 1860s Faur?the lifelong prot? of Camille Saint-Sa?, was a suavely precocious student; he was part of Pauline Viardot's circle in the 1870s and he nearly married her daughter. Pointed in the direction of symbolist poetry by Robert de Montesquiou in 1886, Faur?as the favoured composer from the early 1890s of Winnarretta Singer, later Princesse de Polignac, and his songs were revered by Marcel Proust. 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. In this detailed study Graham Johnson places the vocal music within twin contexts: Faur? 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 Faur? 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 Faur? 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 from the way it was assessed thirty years ago. Faur?s no longer merely a 'Master of Charms' circumscribed by the belle ?que. His status as a great composer of timeless
First published in 2011, this research study includes a biography section as well as the works of Gabriel Urbain Fauré born on 12 May 1845. Much of Fauré’s music, especially the late pieces, remain little played and little known—as a result, his reputation as a salon composer of pleasant music continues even among educated musicians. The author suggests that it is more likely that the difficulty of much of Fauré’s music for the listener and the demands it places upon him or her are the principal reasons for its omission from concert programs and for a misunderstanding of Fauré’s place in the history of French music