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Gabriel Fauré : Piano Works

Michel Dalberto

Classical - Released April 14, 2017 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - 4 étoiles Classica
Disciple of Vlado Perlemuter and Jean Hubeau, Michel Dalberto has stood out as a master and ardent defender of French music in the course of a forty-year career. His signature for the Aparté label of a series of recordings devoted to Debussy, Fauré, Ravel, and Franck marks his awaited return to discs. Each episode will be recorded live and accompanied by a video. This second release, recorded on a Bechstein piano at the Conservatoire d’Art Dramatique-Paris on 7 January 2017, honours Gabriel Fauré.
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Hope@Home

Daniel Hope

Classical - Released August 14, 2020 | Deutsche Grammophon (DG)

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It's not entirely clear where Daniel Hope's 2020 album Hope@Home was recorded: the location, except for one track recorded at the Frauenkirche in Dresden, is given merely as "Berlin." If it was indeed recorded at the violinist's home, he has a space with an unusually live acoustic that is somewhat at odds with the impression of intimacy that he seeks to convey. That's one of the few complaints here, however, for Hope has, in many ways, made a virtue of necessity. His program is built around a long list of guests, as if in the manner of a home musical soirée, including both instrumentalists and singers. The pianist on the majority of the tracks is Christoph Israel, who also serves as arranger, and it is the variety of these that really makes the album. Hope manages to pull off the idea of having a large group of talented house guests experimenting at the piano, and this is not easy to do with a convincing quality of spontaneity. Consider the unusual combination of Falla's "Asturiana" with Rudyard Kipling's poem "If," spoken by Iris Berben, or a yet more unexpected America the Beautiful. The main sequence of the program consists of a mix of classical (Schubert and Brahms) and popular American, British, and continental European songs. It may be calibrated to appeal to varied audiences, but it is relaxed, fun, often ingenious, and quite lovely.© James Manheim /TiVo
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Fauré: Nocturnes pour Piano, Theme et Variations Op. 73 by Eric Heidsieck

Eric Heidsieck

Classical - Released February 9, 2023 | Alexandre Bak - Classical Music Reference Recording

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Nuit d'étoiles (Mélodies françaises de Fauré, Debussy, Poulenc)

Véronique Gens

Classical - Released February 1, 2000 | Warner Classics

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Gabriel Fauré: Cello Works

Ophélie Gaillard, Bruno Fontaine, Gabriel Fauré

Classical - Released October 29, 2004 | Ambroisie - naïve

Fauré: An Introduction

Gabriel Fauré

Classical - Released June 27, 2020 | UME - Global Clearing House

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Fauré: Intégrale de l'œuvre pour piano, Vol. 1 (Ballade, Mazurka op.62, Quatre Valses-Caprices, Préludes Op.103

Jean-Claude Pennetier

Classical - Released May 12, 2009 | Mirare

Booklet
Though Fauré was assuredly his own man as a composer, in these performances of his piano music by Jean-Claude Pennetier, he is also surely the rightful heir of Chopin. The formal matter here is clearly Chopin's -- a ballade, a mazurka, four waltzes, and nine preludes -- and the stylistic manner is Chopin's as well -- the filigree and melody in the right hand and the left hand divided between counter-melody, chordal accompaniment and bass. This is meant as no slight to either Fauré or Pennetier. This is luscious music with toothsome melodies, succulent sonorities, and mouthwatering forms, and if these can be faulted for being too beautiful, it's a fault they should bear proudly. The performances are likewise exquisite. Pennetier has a fluent technique, a pearly tone, and an elegant way of phrasing a melody and shaping a form. But more than that, Pennetier has a real sympathy for Fauré's music and his interpretations are honest and heartfelt. Though the classic performances of these works are certainly worthy of admiration and love, Pennetier's are no less admirable and loveable and any listener interested in the composer or the period is urged to try this disc. Mirare's digital sound is clear, deep, and immediate. © TiVo
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Fauré: Romance sans paroles

Therese Ryan

Classical - Released January 15, 1999 | ATMA Classique

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Saint-Saëns: Cello Concerto No. 1 - Franck, Fauré & Poulenc

Bruno Philippe

Chamber Music - Released November 10, 2023 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone: Recording of the Month
Of the various young cellists contending for the crown these days, Bruno Philippe is among the strongest, with a highly varied palette of tone production. He applies the full power of the instrument sparingly, keeping a light touch in lyrical sections and making details clear even at the growling bottom of the instrument's range. The large pieces here are perhaps of varying quality, but they serve Philippe well. The Violin Sonata in A major of César Franck was transcribed for cello with the composer's approval, but it is a different work lower down, losing the soaring quality of the finale's melodies. Still, it fits Philippe's way with a tune nicely, and he applies a good deal of tempo rubato in a way that holds the interest. Philippe keeps the cello lines clear in Saint-Saëns Cello Concerto No. 1 in A minor, Op. 33 (the mix of cello-and-piano works with a cello concerto is entirely characteristic of what might have been offered in these composers' own era), featuring the Frankfurt Radio Symphony Orchestra. Francis Poulenc's Cello Sonata was sketched out by the composer in 1940, laid aside, and completed only reluctantly in 1948. The composer disparaged it, and no one would pick it as top-grade Poulenc, but for all that, it has a remarkable Cavatine slow movement that displays Philippe's lyrical gifts to the hilt. Serving as intermezzi among these works are short pieces by Fauré, and these, too, show Philippe as the possessor of a remarkable cantabile. Philippe is ably accompanied by the veteran pianist Tanguy de Williencourt; they make an effective pair, with the pianist's restrained style seeming to keep the young Philippe within bounds. Harmonia Mundi contributes idiomatic chamber music sound from the Hessische Rundfunk studios in Frankfurt on an album that will appeal to any lover of French chamber music.© James Manheim /TiVo
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Fauré: The music for Cello and Piano

Xavier Phillips

Chamber Music - Released October 20, 2023 | La Dolce Volta

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The 100th anniversary of Gabriel Fauré's death in 1924 has brought various worthwhile releases, some of them delving into lesser-known repertory that is most welcome. Fauré mastered the art of handling the solo cello arguably better than any other composer, writing its lines into dense counterpoint that blooms unexpectedly into melody, and two top chamber musicians do his complete cello works justice here. The program is compelling, with the two cello sonatas, thorny and dense, framing shorter works that are limpid but not simple. The Elegy in C minor, Op. 24, is heard often enough, but some of the others, like the Sicilienne, Op. 78, or the flitting Papillon, Op. 77, are delightful finds. The performers are equal to the considerable technical demands of the cello sonatas, even the incredibly gnarly first movement of the Cello Sonata No. 2 in G minor, Op. 117, and they draw nice contrasts with the just slightly more relaxed slow movements. The sound from the Salle de L'esplanade at the Metz Arsenal is another draw on an unusually satisfying chamber music release.© James Manheim /TiVo
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Boulanger, Fauré, Hahn

William Youn

Classical - Released December 15, 2023 | Sony Classical - Sony Music

Hi-Res Booklet Distinctions Diapason d'or
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Faure: Pelléas et Mélisande

Lorraine Hunt

Classical - Released January 1, 1987 | Deutsche Grammophon (DG)

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Entrez dans la danse... (Hahn, Ravel, Poulenc, Schmitt...)

Anne Queffélec

Solo Piano - Released January 13, 2017 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason
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Impressions

Sophie Dervaux

Classical - Released April 16, 2021 | Berlin Classics

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French bassoon or German bassoon (fagott): this was long a difficult choice to make, so different are the two instruments. They are distinct as much for their wood (Rio rosewood in France or varnished maple in Germany) as for their technique and their sound. The timbre of the French bassoon (let us remember the beginning of Stravinsky's Rite of Spring) is clearer and more precise than the German bassoon, which blends better with the orchestral mass. The conflict has now subsided and the German bassoon is the dominant instrument throughout the world, even in most French orchestras.This universality of the fagott is illustrated by this recital by the French bassoonist Sophie Dervaux, first soloist of the Vienna Philharmonic Orchestra, using the German bassoon. With her compatriot Sélim Mazari at the piano, she offers a programme in which two original works, the Sonatas for bassoon and piano by Saint-Saëns and Koechlin, alternate with transcriptions of pieces by Reynaldo Hahn, Debussy, Ravel, Dutilleux and Roger Boutry. A golden opportunity to discover an endearing instrument, whose tessitura, similar to that of a cello, can move and seduce just as much as a cello itself. Seen here, the bassoon is a far cry from the humourous or sarcastic connotations which have limited it for so long. © François Hudry/Qobuz
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Fauré: 3 Songs, Op. 7: I. Après un rêve (Version for Violin and Piano)

María Dueñas

Classical - Released September 30, 2022 | Deutsche Grammophon (DG)

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A Fauré Recital, Vol. 1

Louis Lortie

Classical - Released August 1, 2016 | Chandos

Hi-Res Booklet
The appeal of Gabriel Fauré's music is difficult to capture in a program devoted exclusively to the composer, but pianist Louis Lortie has pulled it off here. The trick is to present an intimate program that would have held together in the small venues for which Fauré intended his music. Lortie writes that "this album purposely travels through Fauré's various creative periods," and that's part of it: Fauré and his contemporaries would not have discarded his earlier music in recital. Consider the Pavane in F sharp minor, Op. 50, so often presented as a kind of glassed-in delicacy. Here it's something else entirely: a moment of stasis from which the subsequent pieces unfold as if in a dance. Central to the program are the three Barcarolles, Nos. 5, 6, and 7, again not put together, but placed in contrast to the works that surround them, each with a different treatment of the basic gondolier inspiration. Beyond the intelligently structured program is Lortie's wonderfully restrained playing in the individual pieces: the temperature never rises above warm, but every single thing is lively. Sample anywhere, but you could start with the rather rare original piano versions of the incidental music to Pelléas et Mélisande or with the subtle, chromatic Nine Preludes, Op. 103, that conclude the disc. A fine Fauré cornerstone to an album collection, beautifully recorded by Chandos at the Snape Maltings Concert Hall.© TiVo
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Alexander Scriabin : Intégrale des Etudes pour piano

Andrei Korobeinikov

Solo Piano - Released October 6, 2014 | Mirare

Hi-Res Booklet Distinctions 4 étoiles Classica
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Chopin : De l’enfance à la plénitude

Anne Queffélec

Classical - Released January 21, 2010 | Mirare

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Fauré: Requiem op.48 · Pavane op.50 · Elégie op.24 · Après un Rêve op.7

Kathleen Battle

Classical - Released January 1, 2003 | Deutsche Grammophon (DG)

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J'écoute Bach et Haendel avec ma maman

Anne Queffélec

Classical - Released December 3, 2012 | Mirare

Booklet