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Books > Arts & Architecture > Music > Western music, periods & styles > 20th century music
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Gabriel Faure: The Songs and their Poets (Hardcover, New Ed)
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Gabriel Faure: The Songs and their Poets (Hardcover, New Ed)
Series: Guildhall Research Studies
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The career of Gabriel Faure as a composer of songs for voice and
piano traverses six decades (1862-1921); almost the whole history
of French melodie is contained within these parameters. In the
1860s Faure, the lifelong protege of Camille Saint-SaA"ns, 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,
Faure was 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: Faure'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 Faure'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 Faure'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 from the way it was assessed thirty years ago. Faure is
no longer merely a 'Master of Charms' circumscribed by the belle
epoque. His status as a great composer of timeless
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