Category Archives: Fauré, Gabriel

Refinement or oversight? On two passages in Fauré’s 1st Piano Quartet op. 15

Fauré is known for his refined tonal language, with the … Continue reading

Posted in Fauré, Gabriel, Monday Postings, piano quartet, Urtext | Tagged | 1 Comment

Quality: especially valuable – the galley proofs in Fauré’s 1st Cello Sonata op. 109

There is always a risk in producing an engraved plate … Continue reading

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France sets the tone – new Urtext editions in the “blue jersey”

It isn’t only with the European Football Championship 2016 that … Continue reading

Posted in articulation, Chausson, Ernest, Fauré, Gabriel, horn, Monday Postings, Morceau de Concert op. 94 (Saint-Saëns), piano + horn, Ravel, Maurice, Saint-Saëns, Camille, variant reading | Tagged , , , , | Leave a comment

Urtext and Urcontext

In our blog we have certainly already discussed the Urtext … Continue reading

Posted in Fauré, Gabriel, Monday Postings, piano + voice, Schumann, Robert, Urtext | Tagged , , , , | 1 Comment

A manuscript conundrum – the autograph of Gabriel Fauré’s violin sonata, Op. 13

Autograph manuscripts of musical works have an aura all their … Continue reading

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How the (cradle) song ends: what is the final tone of Fauré’s Berceuse?

Gabriel Fauré’s Berceuse op. 16, a captivating miniature for violin … Continue reading

Posted in Berceuse op. 16 (Fauré), Fauré, Gabriel, first edition, Monday Postings, notation, piano + violin | Tagged , , , , | Leave a comment