Gabriel Fauré
Violoncello Sonata no. 1 d minor op. 109
Immediately after finishing his second Violin Sonata op. 108, Fauré started work on a sonata for cello and piano in early 1917, thus realising a long-conceived plan. In their predisposition and attitude, both works are very closely related. In the cello sonata, a sombre, dramatic opening movement is also followed by a calm, relaxed slow middle movement and a graceful finale. The critical response to the first performances was subdued, but on account of increasing interest in Fauré’s complete late chamber music, this sonata has recently been rediscovered as a substantial part of his oeuvre. The Henle Urtext edition constitutes the first critical edition of this work. David Geringas, a master of his craft, supplied the markings in the cello part.
Read more about this edition in the Henle Blog.
Content/Details
About the Composer
Gabriel Fauré
Representative exponent of French music around 1900. His creative work is centered around the art song, piano music (nocturnes, barcarolles, impromptus, valse-caprice), and chamber music – alongside other genres.
1845 | Born in Pamiers (Ariège) on May 12, the son of a primary school teacher. |
1854–65 | Attends the École de musique classique et religieuse (founded by L. Niedermeyer), where liturgical musicians were educated; lessons with Saint-Saëns (from 1861). |
1866–70 | Organist at the church of Saint-Sauveur in Rennes. |
1871 | After occupying various organist positions in Paris, he becomes assistant organist to Saint-Saëns at Saint-Sulpice. He numbers among the founding members of the Société nationale de musique. Performances of his works in their concerts. |
1874 | Premiere of his “Suite d’orchestre” in F major (“Symphony No. 1”), which is a compilation of existing pieces. |
1875/76 | Violin Sonata No. 1 in A major, Op. 13. |
1876–79 | Piano Quartet No. 1 in C minor, Op. 15 |
1877 | Maître de chapelle at Paris’s Église de la Madeleine. |
1876/78 | Premiere of his choral work “Les Djinns,” Op. 12. |
from 1879 | Attends performances of Wagner’s music; in his own compositions he distances himself from Wagner. |
1885 | Premiere of his Symphony No. 2 in D minor, later destroyed. |
1887/88 | Requiem, Op. 48. |
1891 | “Cinq Mélodies ‘de Venise’,” Op. 58, on texts by Verlaine. |
1892–94 | “La bonne chanson,” Op. 61, on texts by Verlaine. |
1896 | Successor to Dubois at the Madeleine. He conducts a composition class at the Paris Conservatoire. |
1900 | Premiere of the tragédie lyrique “Prométhée,” Op. 82. |
1905–20 | Director of the Conservatoire. |
1909 | President of the Société musicale indépendante. |
1913 | Premiere in Monte Carlo of his opera “Pénélope.” |
1919 | Song cycle, “Mirages,” Op. 113, with clear features of his modernist late style. |
1924 | Death in Paris on November 4. |
About the Authors
Markus Bellheim (Fingering)
David Geringas (Fingering and bowing for Violoncello)
Alcuni considerano “accademica” la tarda maturità di Fauré. Pubblicazioni come queste non possono che confutare quest’opinione.
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Further editions of this title
Further editions of this title