Category Archives: Fauré, Gabriel

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

Posted on November 8, 2021 by Peter Jost

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

Posted on October 14, 2019 by Peter Jost

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

Posted in Fauré, Gabriel, Monday Postings | Tagged , | 1 Comment

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

Posted on July 11, 2016 by Dominik Rahmer

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

Posted on September 14, 2015 by Annette Oppermann

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

Posted on November 26, 2012 by Peter Jost

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

Posted in autograph, Fauré, Gabriel, Monday Postings, piano + violin, Urtext, Violin Sonata op. 13 (Fauré) | Tagged , , | Leave a comment

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

Posted on February 20, 2012 by Dominik Rahmer

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