Faure: Piano Music For Four Hands

De Hooge:Volondat

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Cat No: 8553638

Release Date: 04 January 2000

Label: Naxos - Nxc / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 730099463829

Genres: Classical

Composer/Series: FAURE

Description
Gabriel Faure (1845 - 1924)Piano Music for Four HandsSouvenirs de Bayreuth / Huit pi?¿ces br?¿ves,Op. 84Masques et bergamasques, Op. 112 /Allegro symphonique, Op. 68Dolly, Op. 56 The sixth and youngest child of a father with aristocraticconnections, a former teacher, employed in the educational inspectorate andthen as director of a teachers' training college, Gabriel Faure was encouragedby his family in his early musical ambitions. His professional training,designed to allow him a career as a choirmaster, was at the Ecole Niedermeyerin Paris, where, by good fortune, he met Saint-Saens, who was then teaching thepiano at the school. This was the beginning of a relationship that lasted untilthe death of Saint-Saens in 1921. Faure completed his studies at the Ecole Niedenneyer in1865 and the following year took up an appointment as organist at the church of St Sauveur in Rennes, turning his attention increasingly, during the fouryears of this provincial exile, to composition. After similar less importantappointments in Paris, in 1871 he became assistant organist at St Sulpice,later moving to the Madeleine as deputy to Saint-Saens and subsequently as choirmaster,when Theodore Dubois succeeded Saint-Saens in 1877. Marriage in 1883 and thebirth of two sons brought financial responsibilities that Faure met by hiscontinued employment at the Madeleine and by teaching. At the same time hewrote a large number of songs, while remaining, as always, intensely criticalof his own work, particularly with regard to compositions on a larger scale. The last decade of the nineteenth century brought Fauremore public recognition In 1892 he became inspector of French provincialconservatories and four years later principal organist at the Madeleine In the sameyear he at last found employment as teacher of composition at theConservatoire, the way now open to him after the death of the old director AmbroiseThomas, who had found Faure too much of a modernist for such a position Hisassociation with the Conservatoire, where his pupils over the years included Ravel,Koechlin, Enescu and Nadia Boulanger, led, in 1905, to his appointment asdirector, in the aftermath of the scandal that had denied the Prix de Rome toRavel. He remained in this position until 1920, his time for compositioninitially limited by administrative responsibilities, although he was laterable to devote himself more fully to this, adding yet again to the repertoireof French song, with chamber music and works for piano. Faure's musical language bridged a gap between theromanticism of the nineteenth century and the world of music that had appearedwith the new century, developing and evolving, but retaining its own fundamentalcharacteristics. His harmonic idiom, with its subtle changes of tonality andhis gift for melody, is combined with an understanding of the way contemporaryinnovations might be used in a manner completely his own. It was together with Andre Messager that Faure travelle
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