Fauré: Complete Music for Solo Piano (CD Review)

by Karl Nehring

(CD1) Romances sans paroles (“Songs without Words”), Op. 17; Ballade in F sharp major, Op. 19; Impromptu No. 1 in E flat major, Op. 25; Barcarolle No. 1 in A minor, Op. 26; Valse-caprice, Op. 30; Impromptu No. 2 in F minor, Op. 31; Mazurka, Op. 32; 3 Nocturnes, Op. 33; (CD2) Impromptu No. 3 in A flat major, Op. 34; Nocturne No. 4 in E flat major, Op. 36; Nocturne No. 5 in B flat major, Op. 37; Valse-caprice, Op. 38; Barcarolle No. 2 in G major, Op. 41; Barcarolle No. 3 in G flat major, Op. 42; Barcarolle No. 4 in A flat major, Op. 44; Valse-caprice, Op. 59; Valse-caprice, Op. 62; Nocturne No. 6 in D flat major, Op. 63; (CD3) Barcarolle No. 5 in F sharp minor, Op. 66; Barcarolle No. 6 in E flat major, Op. 70; Thème & Variations, Op. 73; Nocturne No. 7 in C sharp minor, Op. 74; Pièces brèves (8), Op. 84; Barcarolle No. 7 in D minor, Op. 90; Impromptu No. 4 in D flat major, Op. 91; Barcarolle No. 8 in D flat major, Op. 96; Nocturne No. 9 in B minor, Op. 97; (CD4) Nocturne No. 10 in E minor, Op. 99; Barcarolle No. 9 in A minor, Op. 101; Impromptu No. 5 in F sharp minor, Op. 102; Préludes (9), Op. 103; 2 Pieces, Op. 104 – I. Nocturne No. 11 in F-Sharp Minor, II. Barcarolle No. 10 in A Minor; Barcarolle No. 11 in G minor Op. 105; Barcarolle No. 12 in E flat major, Op. 106; Nocturne No. 12 in E minor, Op. 107; Barcarolle No. 13 in C major, Op. 116; Nocturne No. 13 in B minor, Op. 119. Lucas Debargue, piano. Sony Classical 19658849882 4 

The French composer Gabriel Fauré (1845-1924) is one of those composers who, although relatively well known to most classical music lovers, nevertheless seems to be under-appreciated. Perhaps he needed to be a widely traveled keyboard virtuoso, or perhaps to have written some memorable symphonies to capture the public imagination; whatever the reason, he certainly was a marvelous composer who created music of great beauty and refinement. He saw a purpose to music: “To my mind, art, and above all music, consists in lifting us as far as possible above what is,” he once wrote. These words take on extra meaning when we consider that Fauré was always something of an establishment outsider, and then in middle age, was beset (like Beethoven) with deafness. As a teenager, he had been taught piano by Saint-Saëns, 10 years his senior, who became his lifetime mentor and champion. Saint-Saëns encouraged him to compose, helped him get a job as a church organist, and remained his staunch supporter throughout his career. But although he played the organ for much of his life, he left no compositions for that instrument; however, he composed for the piano throughout his career. This new release from French pianist Lucas Debargue (b. 1990) brings them all together for us to audition and enjoy. 

Here we have yet another example of an album that largely owes its existence to the COVID-19 pandemic. Someone with more talent and energy than I have needs to write a book – or, at minimum, an article in The Atlantic or Gramophone – about the musicians that responded to the circumstances of the pandemic with music, such as pianist Igor Levit and countless other musicians with streamed recitals, and then any number of releases from musicians who suddenly found themselves unable to travel. With newfound time on their hands, many embarked on projects of composing and recording, and we are still enjoying the fruits of their labors. Debargue, for example, writes that “in 2020, when travel and concerts were disrupted by the coronavirus pandemic, I was able to return to one of my favourite musical pleasures: lengthy sessions spent sight-reading at the piano. This was the occasion on which I discovered the Nine Preludes op. 103 of 1909 and 1910. And I was immediately struck by the profound originality and mastery of these brief pieces from Fauré’s final period… The late-period style of Fauré’s was a revelation. Initially, my reaction was negative as I found myself dealing with scores whose harmonic language was beyond my grasp. To decipher Fauré’s ultimate enigmas I needed to draw on all the passion that I have invested in studying tonal harmony over the years… This voyage of discovery has provided me with a number of musical pleasures that have transformed my life both as a person and as a musician. I needed to go into the recording studio in order for me to be able to be able to share this adventure with my listeners.”

A unique dimension of this recording is the piano itself. Rather than the typical Steinway, Yamaha, etc. that we usually encounter on an album of this sort, Debargue has instead chosen to record these tracks on an Opus 102 piano (pictured right). As he explains, “this recording is not just about offering a summation of a benchmark reading of Fauré’s music for the piano; it also provides an answer to other needs that I feel, specifically the desire to invest this recording with an experimental aspect. I needed the sound of the piano to express a spirit of experimentation in the clearest possible way. The project found an ideal complement in my choice of an Opus 102 piano, an innovatory concert grand that has one hundred and two keys (as opposed to the standard eighty-eight) and a choice of keyboard that to my ears makes total sense in this repertoire.” Although of course Fauré would not have written any notes for any of those 14 extra keys, there does seem to be a clarity of sound to this recording, especially in the upper registers, that adds to the lister’s musical enjoyment. Let’s give credit to both the piano and the engineer – but we should certainly not forget to credit Debargue, n’cest-pas?

Clarity is a hallmark of Fauré’s piano music in general. It is not dreamy and impressionistic; it is more straightforward than that. Still, it is imbued with charm, color, and wit. It is fascinating to sit down and listen to his music develop from disc to disc, from the more straightforward sound of some of his early works to the more reflective, ruminative later works. Debargue provides brief comments on all the works included in the set, making this box an excellent way for someone to take a deep dive into the world of Fauré’s music for piano. Trust me – it would prove a most rewarding swim.