This month’s composer will, unfortunately, have to serve for both September and October. It’s back to school (and lesson) time for many of us, including myself. So, until I get back into the swing of things, Gabriel Faure will have to satisfy.
Gabriel Faure is among my favorite composers. Singing his music is unlike singing anything else. It is impossible to draw parallels between Faure and any other composer.
Born in 1845 in Palmiers, France. He studied music at the Ecole Niedermeyer in Paris under the tutelage of Camille Saint-Saens (composer of Samson and Delilah and The Carnival of the Animals). In addition to composing, Faure served as a church organist and in 1896, he became a composition professor at the Paris Conservatoire. Among his students are (Joseph) Maurice Ravel and Nadia Boulanger.
Faure’s vocal works belong primarily to the class of songs known as chanson or melodie. The English equivalent is French Art song. French Art song is among the most difficult vocal genres to master, because it requires an excellent vocal technique, a very legato line, extreme emotional commitment, and elegant refinement. When all these elements come together, the effect is transcendent and atmospheric.
It is perhaps because of the difficulty of singing French Art song well than Faure is not performed more. Recent good interpretors of French art song are few and far between. Excellent French art song interpretators are Elly Ameling (my personal favorite), Maggie Tayte, Gerard Souzay, and Pierre Bernac.
Works to Try Pavane - this wonderful piece exists in arrangement for flute, guitar, and voice. It is very challenging because of the extremes in range which exist in the vocal part (from a Bflat 4, I think to a B flat 6). However, it exemplifies the incredible line and phrasing which exists in all Faure’s compositions.
Apres un Reve and Au Bord de l’eau - these two pieces, with texts by Romain Bussine and Sully Prudhomme, respectively, are among the most frequently sung. They are both very beautiful, and when done well, appear to be elegantly simple. However, their simplicity is only on the surface! Both are "breath-suckers" (my own term, which I’m sure will be soon added to Grove’s), and the -6 leap in the beginning of Au Bord de l’eau is a killer! Beware if you choose to sing these in competition - adjudicators know these songs and their pitfalls well!
En Priere - Again, this song appears simple when done well, but is not so simple if the singer is not rhythmically secure, as it pits two (in the vocal line) against three (in the accompaniment). It's a lovely selection for Easter. Poemes d'un jour- A group of three works: Rencontre, Toujours, and Adieu. This group is not performed very often, and is really wonderful. It is a particular auto-biographical group, although most of Faure's compositions reveal his state of mind at the moment of its composition.
Many more wonderful songs exist - these are just a few to start with. Please let me know if you are looking for other selections.
As well, my apologies to any French speakers who read this - I don't know how to add in the proper accents yet!
