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Gabriel Urbain Fauré (1845-1924)

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Fauré - La Chanson d'Eve and other songs

Fauré - La Chanson d'Eve and other songs


Fauré:

Le papillon et la fleur, Op. 1 No. 1

Chanson du pêcheur Op. 4 No. 1

Rêve d'amour, Op. 5 No. 2

Hymne Op. 7 No. 2

Aubade, Op. 6 No. 1

Barcarolle Op. 7 No. 3

Toujours!, Op. 21 No. 2

Les berceaux, Op. 23 No. 1

Le secret Op. 23 No. 3

Aurore, Op. 39 No. 1

Les roses d'Ispahan Op. 39 No. 4

En prière

Les présents Op. 46 No. 1

La chanson d'Ève, Op. 95

Spleen, Op. 51 No. 3 (Verlaine)

Green, Op. 58 No. 3 (Verlaine)

En sourdine, Op. 58 No. 2 (Verlaine)

Mandoline, Op. 58 No. 1 (Verlaine)

Après un rêve, Op. 7 No. 1


Janet Baker (mezzo soprano) & Geoffrey Parsons (piano)

Penguin Guide

Rosette Winner

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Fauré - The Complete Songs - 1

Fauré - The Complete Songs - 1


Fauré:

Les matelots Op. 2 No. 2

Seule! Op. 3 No. 1

Chanson du pêcheur Op. 4 No. 1

Barcarolle Op. 7 No. 3

Tarentelle Op. 10 No. 2

Au bord de l'eau, Op. 8 No. 1 (Prudhomme)

Les berceaux, Op. 23 No. 1

Au cimetière, Op. 51 No. 2

Larmes Op. 51 No. 1

Cinq Melodies 'de Venise', Op. 58

Pleurs d'or Op. 72

Accompagnement Op. 85 No. 3

La fleur qui va sur l'eau Op. 85 No. 2

Mirages, Op. 113

C'est la paix Op. 114

L'horizon chimérique, Op. 118


Felicity Lott, Jennifer Smith, Geraldine McGreevy (sopranos), Stella Doufexis (mezzo), John Mark Ainsley (tenor), Christopher Maltman, Stephen Varcoe (baritones), Graham Johnson (piano)

“Few singers would give over a whole evening to Fauré's songs on the concert platform, and choosing a way of presenting them on disc obviously poses problems. Previous sets had all the songs in chronological order; others chose poets or moods: Graham Johnson and company have begun with songs about water. This means a lot of dreaming and melancholy, whether in Gautier's Chanson du pêcheur ('Ma belle amie est morte', also set by Berlioz), or Richepin's Aucimitière. The latter is given a most beautiful rendition by John Mark Ainsley, who otherwise only sings on two tracks, with Jennifer Smith in the sentimental Pleurs d'or, and the homage to Venice and its lovers in Marc Monnier's Barcarolle.
Three cycles are the main items here. Felicity Lott sings the Cinq Mélodies de Venise, which includes some of Fauré's best-known songs, 'Mandoline', 'En sourdine' and 'Green'. She brings to bear on them a lifetime's devotion to French song. Her other contribution is Au bordde l'eau, to a poem by Sully-Prudhomme. This is made to sound very sad; taken faster it can be quite merry; it's a celebration of love, as well as a meditation on the passing of time.
Stephen Varcoe sings Mirages, Fauré's penultimate cycle (1919). As Graham Johnson writes in his fascinating notes, these poems by Brimont permitted Fauré 'uneventful passion'. Christopher Maltman is the other featured singer, in five separate songs and L'horizon chimérique. All the performances are elegant and well-balanced, but one misses the extra slight note of acid that native French singers bring to Fauré's songs.
Hyperion's sound is impeccable and in both his playing and accompanying essay, Graham Johnson penetrates to the heart of one of music's most subtle and enigmatic geniuses.”
Gramophone Classical Music Guide, 2010

GGramophone Magazine

Editor's Choice - March 2005

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Fauré - The Complete Songs - 2

Fauré - The Complete Songs - 2

Un paysage choisi


Fauré:

Mai Op. 1 No. 2

Puisqu'ici-bas toute âme Op. 10 No. 1

Dans les ruines d'une abbaye Op. 2 No. 1

Lydia, Op. 4 No. 2

L'absent Op. 5 No. 3

Chant d'automne Op. 5 No. 1

Tristesse, Op. 6 No. 2

Après un rêve, Op. 7 No. 1

Le voyageur Op. 18 No. 2

Sérénade toscane Op. 3 No. 2

Automne, Op. 18 No. 3

La fée aux chansons Op. 27 No. 2

Noël Op. 43 No. 1

Clair de Lune, Op. 46 No. 2

Spleen, Op. 51 No. 3 (Verlaine)

Il est né, le divin enfant

En prière

Prison, Op. 83 No. 1

Dans la forêt de septembre Op. 85 No. 1

Chanson Op. 94

Le jardin clos Op. 106


Jennifer Smith, Geraldine McGreevy, Felicity Lott (sopranos), Stella Doufexis (mezzo), John Mark Ainsley, Jean-Paul Fouchécourt (tenors), Christopher Maltman, Stephen Varcoe (baritones), Graham Johnson (piano)

“There's a high standard of singing throughout and… Geraldine McGreevy offers delicacy, shape and direction, combined with an intelligent variety of tone, and Christopher Maltman's more forthright approach gives impetus to 'Le voyageur' and 'Prison'. Though her tone is a touch mature, Jennifer Smith is able to draw on the warm colours of her voice for the late cycle Le jardin clos (1914), a sombre, understated piece that emphasises the oblique, unpredictable harmony of the composer's final period.” BBC Music Magazine, May 2005 ****

“Volume 2 of Hyperion's superb Fauré song series takes its theme from Clair de lune and an idealised landscape peopled with dreaming birds and sobbing fountains. It follows the composer from youth to old age, from the young charmer to the mature master to the inscrutable sage, imaginatively side-stepping all possible monotony.
Fauré's dream world is a mirror of an occasionally innocent nature that received too many cruel knocks, reflected in music of light and darkness, courage and despair. All the singers involved in this ideally presented and recorded offering perform with a special ardour and commitment; Graham Johnson is, as always, a matchless partner and commentator.”
Gramophone Classical Music Guide, 2010

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Fauré - The Complete Songs - 3

Fauré - The Complete Songs - 3

Chanson d’amour


Fauré:

Puisque j'ai mis ma lèvre

Tristesse d'Olympio

Hymne Op. 7 No. 2

Sylvie, Op. 6 No. 3

Poème d'un jour Op. 21

Nell, Op. 18 No. 1

Notre amour Op. 23 No. 2

Le secret Op. 23 No. 3

Chanson d'amour, Op. 27 No. 1

Fleur jetée, Op. 39 No. 2

Les présents Op. 46 No. 1

Shylock Op. 57

Sérénade: Le bourgeois gentilhomme

La Bonne Chanson, Op. 61

Le ramier Op. 87 No. 2

Le don silencieux Op. 92


Felicity Lott, Jennifer Smith (soprano), John Mark Ainsley, Jean-Paul Fouchécourt (tenor), Christopher Maltman, Stephen Varcoe (baritone), Ronan O’Hora, Graham Johnson (piano)

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Fauré - The Complete Songs - 4

Fauré - The Complete Songs - 4

Dans un parfum de roses


Fauré:

Le papillon et la fleur, Op. 1 No. 1

Rêve d'amour, Op. 5 No. 2

Dans les ruines d'une abbaye Op. 2 No. 1

L'aurore

La rançon, Op. 8 No. 2

Aubade, Op. 6 No. 1

Ici-bas ! Op. 8 No. 3

Aurore, Op. 39 No. 1

Le pays des rêves Op. 39 No. 3

Les roses d'Ispahan Op. 39 No. 4

Nocturne, Op. 43 No. 2

La rose Op. 51 No. 4

Soir Op. 83 No. 2

Le parfum impérissable Op. 76 No. 1

Arpège, Op. 76 No. 2 (Samain)

Mélisande's song from Op. 80

Le plus doux chemin Op. 87 No. 1

Vocalise-étude

La chanson d'Ève, Op. 95


Jennifer Smith, Felicity Lott, Geraldine McGreevy (soprano), Jean-Paul Fouchécourt (tenor), Stephen Varcoe (baritone), Graham Johnson (piano)

“…the final volume and jewel in the crown of Hyperion's completely Fauré songs. …all the singers involved in this glorious project, while not always in their first radiance and purity of voice, never lose their sense of poetic engagement and commitment. Graham Johnson, whether writing or playing, is magically attuned to every nuance of Fauré's universe; and Hyperion's sound and presentation are impeccable.” Gramophone Magazine, December 2005

GGramophone Magazine

Editor's Choice - December 2005

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Casals Encores

Casals Encores


Boccherini:

Cello Sonata in A major, G4a: Allegro Moderato

Chopin:

Nocturne No. 2 in E flat major, Op. 9 No. 2

arr. David Popper

Prelude Op. 28 No. 15 in D flat major ‘Raindrop'

arr. Pablo Casals

Debussy:

Petite Suite: Menuet

arr. Gaston Choisnel

Elgar:

Salut d'amour, Op. 12

Falla:

Nana (No. 5 from Siete canciones populares españolas)

arr. Maurice Maréchal

Fauré:

Après un rêve, Op. 7 No. 1

arr. Pablo Casals

Godard, B:

Berceuse from Jocelyn

Granados:

Danza española, Op. 37 No. 5 'Andaluza'

arr. Pablo Casals

Kreisler:

Chanson Louis XIII and Pavane (In the style of Couperin)

Lassen:

Thine Eyes So Blue

arr. Pablo Casals

MacDowell:

Romance for Cello and Orchestra, Op. 35

Popper:

La Chanson villageoise, Op. 62 No. 2

Mazurka in G minor, Op. 11 No. 3

Vito, Spanish Dance Op. 54/5

Saint-Saëns:

Le carnaval des animaux: Le Cygne

Allegro Appassionato in B minor Op. 43

Sgambati:

Serenata napoletana, Op. 24 No. 2

trad.:

The Song of the Birds

traditional, arr. Pablo Casals

Wagner:

O du, mein holder Abendstern (from Tannhäuser)

arr. Leo Schulz


Alban Gerhardt (cello) & Cecile Licad (piano)

This sensational new release from German cellist Alban Gerhardt recaptures the novelty of the much-loved encores performed by Pablo Casals. Spanish-born Casals was universally recognized as one of the world’s greatest cellists and had a vast repertoire of intimate encores which were adored by his audiences. The disc features transcriptions of works by many notable composers including Fauré, Chopin, Saint-Saëns, Boccherini and Wagner. Also featured are frequently performed musical gems by David Popper: Vito, Chanson villageoise and his Mazurka in G minor, pieces which have gained a special place in the cello literature.

Gerhardt performs these miniature masterworks with extraordinary finesse and verve. His very personal interpretations never lapse into self-indulgence and he projects a distinctive luminescence of tone with infallible intonation. Gerhardt is intelligently partnered and perfectly matched by pianist Cecile Licad on her Hyperion debut. This unique disc demonstrates sublime musicianship, with both performers revelling in a wide expressive scope from the vivacious to the lyrical.

“There is much more to an encore, as Alban Gerhardt will tell you, than casually capping a recital with an audience-pleaser...Listen to Gerhardt in Benjamin Godard’s Berceuse de Jocelyn and there is a paradigm of the exceptional eloquence and discernment that distinguishes the entire disc.” The Telegraph, 2nd June 2011 *****

“his playing [is] less heart-on-sleeve than Casals's own, but wonderfully eloquent and noble: he can be extraordinarily moving in such once-familiar standards as the Berceuse from Godard's Jocelyn, or in Casals's arrangement of Chopin's Raindrop Prelude...Some of this music makes considerable demands on the pianist, and Cecile Licad rises to its challenges with considerable elegance.” The Guardian, 9th June 2011 ****

“Gerhardt has a honeyed, liquid tone all his own. He has created a well-contrasted programme that clearly took a long time to research and hone...This is cello playing of exquisite sophistication and bold imagination. Casals, I feel sure, would have approved.” BBC Music Magazine, August 2011 *****

“An unexpected disc from a cellist one usually thinks of as a heavyweight...he brings to them absolutely the same seriousness of approach and sensitivity that he does to everything. And it works for an album that feels worthwhile as well as easily digestible.” Gramophone Magazine, September 2011

GGramophone Magazine

Editor's Choice - September 2011

BBC Music Magazine

Chamber Choice - August 2011

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Hyperion - CDA67831

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Debussy, Fauré & Ravel: Piano Trios

Debussy, Fauré & Ravel: Piano Trios


Debussy:

Piano Trio in G major

Fauré:

Piano Trio in D minor, Op. 120

Ravel:

Piano Trio in A minor


‘Such flair proves The Florestan Trio, if proof is needed, to be among the finest chamber ensembles of the present day’ (Classic CD)

“The Florestan Trio has the ability to adapt its style to different kinds of music without any loss of conviction. After Brahms and Schumann comes this French disc showing it equally adept at entering the 1880 salon world of Debussy's youthful Trio, Ravel's brilliant exotic idiom, and the intimate, intense thoughts of Fauré's old age. In the quicker movements Susan Tomes's playing is remarkably light and precise. The finale of the Fauré, for example, has a scherzando quality that throws into relief the seriousness of the strings' initial gesture. The string players are always ready to modify their sound to produce special expressive effects – the eerily quiet unison passage in Fauré's Andante (track 2, 2'54") or the vibrato-less duet in the Ravel Passacaille (track 10, 5'15") – sounding wonderfully remote and antique. The clarity of the Hyperion recording allows the fantastical detail in the Ravel Pantoum to emerge. In the Debussy, the Florestan favour elegance rather than trying to search out expressive depths.
Their freshness, imagination and purposeful directness makes this a top choice.”
Gramophone Classical Music Guide, 2010

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Fauré: Cello Sonatas Nos. 1 & 2

Fauré: Cello Sonatas Nos. 1 & 2


Fauré:

Cello Sonata No. 1 in D minor, Op. 109

Cello Sonata No. 2 in G minor, Op. 117

Élégie in C minor, Op. 24

Romance in A major for cello & piano, Op. 69

Papillon, Op. 77

Sérénade, Op. 98

Sicilienne, Op. 78

Cello Sonata No. 1 in D minor, Op. 109: third movement

at a faster tempo


Alban Gerhardt (cello) & Cecile Licad (piano)

Following their triumphant Casals Encores disc, Alban Gerhardt and Cecile Licad are reunited for Fauré’s music for cello and piano. The two cello sonatas are among the masterpieces of the cello repertoire, looking back to the nineteenth century but also with an edginess that may well reflect the time in which they were written—during and immediately after the First World War. Remarkably, Fauré was in his seventies by the time he wrote them. There’s some debate as to how fast the last movement of the first sonata should go—so Alban Gerhardt has recorded two alternative versions, to be programmed to the listener’s taste.

Alongside the sonatas are some of Fauré’s most seductive bon-bons, including the famous Sicilienne and Élégie, and the so-called Papillon (so-named at his publisher’s insistence and much to Fauré’s annoyance—he hated fluffy titles).

Alban Gerhardt is of course a Hyperion regular and this is his ninth album for the label.

“They make a particularly fine duo here, working emotionally in unison, sensing the music’s contours with like mind, breathing as one...their feeling for moments of drama and repose is held in ideal equilibrium, and their pointing up of Fauré’s individual harmonic shading is judged instinctively.” The Telegraph, 13th January 2012 *****

“Alban Gerhardt's account of Fauré's two cello sonatas, both late works, repay careful listening. Like the works themselves, his playing and that of the pianist Cecile Licad is full of subtleties, the half-tones and inflections that make the chamber music of Fauré's final decade so elusive and fragile. Nothing here is forced or made to conform” The Guardian, 19th January 2012 ****

“From every standpoint, Gerhardt's accounts of the sonatas seem exceptional, with their assured technical mastery and uncanny depth of insight...none of [the] rival accounts will readily eclipse these sonorously authoritative new performances...Magnificent cello playing from Gerhardt, empathetically supportive accompaniments from Licad and a wonderfully natural and atmospheric recording to boot.” International Record Review, January 2012

“One has a powerful sense of Cecile Licad and Alban Gerhardt's compelling grasp of architecture...[in the Andante of No. 1] Licad's melting lines are wonderfully voiced, and we have a choice of finales - one at Faure's own controversially slow tempo, and one at the performer's preferred, faster tempo. In the Second Sonata, Gerhardt captures the first movement's exalted energy.” BBC Music Magazine, March 2012 ****

“[Gerhardt] has the command of a very fine virtuoso...[Gerhardt and Licad] sound free as air, intellectually confident, full of verve, with niceties of balance and intensities never an issue; a convincing frame of colour, movement and sound in place for every movement...obviously the one to get. May it win friends for some excellent and still undervalued music.” Gramophone Magazine, April 2012

GGramophone Magazine

Editor's Choice - April 2012

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Fauré: Piano Music

Fauré: Piano Music


Fauré:

Romance sans paroles, Op. 17 No. 3

Impromptu No. 2 in F minor, Op. 31

Barcarolle No. 1 in A minor, Op. 26

Nocturne No. 1 in E flat minor, Op. 33 No. 1

Nocturne No. 3 in A flat major, Op. 33 No. 3

Nocturne No. 4 in E flat major Op. 36

Nocturne No. 6 in D flat major, Op. 63

Barcarolle No. 6 in E flat major Op. 70

Pièces brèves (8), Op. 84

Nocturne No. 13 in B minor, Op. 119

Impromptu No. 3 in A flat major Op. 34


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Fauré: Piano Music

Fauré: Piano Music


Fauré:

Thème & Variations, Op. 73

Valse-caprice, Op. 30

Valse-caprice, Op. 38

Nocturne No. 5 in B flat major, Op. 37

Nocturne No. 6 in D flat major, Op. 63

Nocturne No. 13 in B minor, Op. 119

Ballade in F sharp major for solo piano or piano & orchestra, Op. 19


Angela Hewitt’s recordings of French piano music have received the highest critical acclaim, her ‘tenderness, Gallic wit, verve, and—the most important ingredient of all—charm’ proving perfect for works by Chabrier, Debussy, Ravel and indeed Rameau and Couperin. Now she turns to a composer who is more serious and introspective, with a refinement that has led to him being relatively overlooked by performers. But in Angela Hewitt’s hands this music is an utter joy.

This album includes the major work Thème et variations, Op 73—one of Faure’s greatest works for piano—and a selection of Valses-caprices and Nocturnes. It ends with a more radiant piece from Fauré’s youth, the earliest piece included on this recording—the Ballade pour piano seul, Op 19, dedicated to Saint-Saëns.

“turning convention topsy-turvy, she reminds us in her vehement, brightly lit performances that Faure objected to pianists who play his music 'with the shutters down'” Gramophone Magazine, September 2013

“She brings not just an intimate grasp of the music’s harmonic and technical demands, but an essential refinement – most evident in the Theme and Variations, in which she finds élan, lightness and grandeur without overemphasising the differences between the 11 variations.” Financial Times, 7th September 2013 ****

“It's a very thoughtfully planned sequence, beautifully executed; the sharply contrasting characters of each of the variations...are perfectly focused, while the joyous exuberance of the early Ballade sweeps all before it...All these pieces are presented with exemplary clarity and wonderfully crystalline tone.” The Guardian, 5th September 2013 ****

“an exquisite Faure recital...The purity and strong, supple backbone of her playing lets Faure's inventive genius, his extraordinary sensitivity to colour, harmonic shading, texture and eloquence, shine on its own terms...Hewitt can draw us into Faure's unique bubble and simply envelop us in his cool, self-sufficient gorgeousness” BBC Music Magazine, October 2013 *****

“Particularly masterly are the variations, the heartbreaking 7th and final 12th very lovely. Hewitt observes that Fauré, who did not die until 1924, was born in Schumann and Chopin’s lifetimes: the pianism and songfulness show their legacy.” The Independent, 15th September 2013 ****

“She plays this repertoire with real vitality and extroversion...Her sense of phrasing and sense of continuity in the three Nocturnes is Collard-like in intimacy and sensitive proportion.” MusicWeb International, 30th September 2013

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