Fauré’S Chamber Works, Long Overshadowed by His Popular Requiem (Naxos 8.550765), Are Regaining Their Rightful Place

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NAXOS NAXOS Gabriel Fauré’s chamber works, long overshadowed by his popular Requiem (Naxos 8.550765), are regaining their rightful place. This new release from the Kungsbacka Piano Trio follows their recording of Fauré’s First Piano Quartet and other chamber works (8.573042), described by Gramophone as ‘a delectable way into Fauré’s chamber music’. The programme features the less frequently heard original version, with clarinet, of the 8.573223 FAURÉ: Piano Trio, the Second Piano Quartet, which includes an evocation of the bells of Cadirac FAURÉ: near the composer’s home, the Romances sans paroles, described by Marcel Proust as DDD ‘intoxicating’ and one of Fauré’s most famous works, the Berceuse from the Dolly Suite. Playing Time Gabriel 62:07 Piano Quartet No. 2 FAURÉ Piano Quartet No. 2 (1845–1924) Piano Quartet No. 2 Trois romances sans paroles, in G minor, Op. 45 33:40 Op. 17 6:11 1 I. Allegro molto moderato 11:14 6 I. No. 1, for violin and piano* 1:49 2 II. Allegro molto 3:28 7 II. No. 2, for cello and piano* 2:17 3 III. Adagio non troppo 10:16 8 III. No. 3, for cello and piano† 2:03 4 IV. Allegro molto 8:31 *arr. Jules Delsart †arr. Pierre Gouin Dolly Suite, Op. 56 Piano Trio in D minor, www.naxos.com Made in Germany Booklet notes in English • Notice en français ൿ & 5 I. Berceuse Op. 120 (for clarinet, cello Ꭿ (for violin and piano) 2:41 and piano) 19:22 2014 Naxos Rights US, Inc. 9 I. Allegro ma non troppo 6:03 0 II. Andantino 8:33 ! III. Allegro vivo 4:40 Kungsbacka Piano Trio Malin Broman, Violin 1–6 • Jesper Svedberg, Cello 1–4, 7–11 C Simon Crawford-Phillips, Piano 1–11 1–4 9–11 M 8.573223 Philip Dukes, Viola • Richard Hosford, Clarinet 8.573223 Recorded at Wyastone Concert Hall, Monmouth, UK, 17–19 April 2013 Y Producer, Engineer & Editor: Phil Rowlands • Assistant: Mike Cox • Booklet notes: Keith Anderson Publishers: International Music Company (IMC) (tracks 1–4); J. Hamelle (5–8); Editions Durand (9–11) K Cover image: Beach in Normandy, France (adapted from photo © Gerard Koudenburg / Dreamstime.com).

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Requiem, Op. 48 Gabriel Fauré (1845 - 1924)
ASO Program Notes Requiem, Op. 48 Gabriel Fauré (1845 - 1924) Gabriel Fauré grew up in the French Pyrenees and began his musical education at a very early age. He studied organ, piano and choral music at increasingly more prestigious schools, ending up at the Niedermeyer School in Paris. His teachers included Camille Saint-Saëns. When he later became a teacher at the Paris Conservatory, Maurice Ravel and Nadia Boulanger were among his pupils. He served as organist and choirmaster at a number of large churches in Paris, and enjoyed an excellent reputation as a successful composer until he grew deaf and had to give up much of his musical life. There have been many famous Requiems, and all have their own style. Verdi, Berlioz, and Brahms all composed glorious Requiems addressing the themes of death, resurrection and final judgment. The tone of their works is grand and even theatrical. Mozart’s Requiem is moving and poignant. Fauré chose to make his gentler, full of solace and comfort for the mourners. It is also moving, but in a kinder, more consoling way. The awesome vision of “The Last Judgement” would have meant little to Fauré. In spite of the fact that most of his life had been dedicated to service to the church, he was an unbeliever, and so he focused more on the blessed rest for those whose life journey had come to an end. In Fauré’s words, “Everything I managed to entertain in the way of religious illusion I put into my Requiem, which is…dominated from beginning to end by a very human feeling of faith in eternal rest.” and at another time, “I see death as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience.” Although firmly agnostic, he was a spiritual man, and sought to compose a newer kind of church music, different from the heavily romantic style of the German composers dominating European music at the time.
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