Gabriel Fauré, a Neglected Master

Copland, Aarón

doi:10.1093/mq/x.4.573

Cited by 4 publications

(3 citation statements)

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“…comm., 2019) The author's role was that of both researcher and curator as this project was accepted for the festival and was entitled 'Nagmusiek' (Afrikaans for 'night music'). For this project, I selected three orchestral songs and two songs accompanied by piano by Richard Strauss, Franz Schubert, Gabriel Fauré (1845-1924 and Hector Berlioz (1803Berlioz ( -1869, which used the night as an overarching context in which the stories being told took place. The songs are 'While going to sleep ' ['Beim Schlafengehen'] Gabriel Fauré, and 'The Erlking' ['Erlkönig'] Op.…”

Section: 'Nagmusiek'mentioning

confidence: 99%

“…I have slightly diverged into this methodological description to elucidate my approach to the analyses for the reader. The goal of the analyses is to discuss how 'the night' is depicted in selected art songs of Franz Schubert (1797-1828), Gabriel Fauré (1845-1924), Richard Strauss (1864-1949 and Hector Berlioz (1803Berlioz ( -1869. In order to achieve this goal, I ascribe aspects of meaning to my observations in these art songs.…”

Section: Meaningmentioning

confidence: 99%

“…Notwithstanding, the achingly beautiful melodies and orchestral story-telling features are far more restrained in Les nuits d'été than in his other outputs. The difference in musical style in the two French songs presented to the artists is also less apparent as Fauré's 'Après un rêve' composed between 1870 and 1877 still reflects his earlier compositional style where he was greatly influenced by Gounod, specifically his Romantic and expressive use of melody (Copland 1924). Nonetheless, there are significant differences between the songs, most notably the vocal range demanded by the singer, the instrumentation (piano in contrast to the orchestral accompaniment) and the use of rhythm and harmony.…”

Section: Mélodie Meaning and Emotionmentioning

confidence: 99%

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Music, Art and Emotion: Depictions of the Night Inspired by Romantic Art Song

Meyer¹,

Venter²

2022

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Peer review declarationThe publisher (AOSIS) endorses the South African 'National Scholarly Book Publishers Forum Best Practice for Peer Review of Scholarly Books'. The manuscript underwent an evaluation to compare the level of originality with other published works and was subjected to rigorous two-step peer review before publication, with the identities of the reviewers not revealed to the editor(s) or author(s). The reviewers were independent of the publisher, editor(s), and author(s). The publisher shared feedback on the similarity report and the inputs with the manuscript's editor(s) or author(s) to improve the manuscript. Where the reviewers recommended revision and improvements, the editor(s) or author(s) responded adequately to such recommendations. The reviewers commented positively on the scholarly merits of the manuscript and recommended that the book be published.v Research justificationThis scholarly book focuses on how four artists, namely Marna de Wet, Kevin du Plessis, Jean Lampen and Elna Venter, ascribed meaning to songs of the Romantic era by Franz Schubert, Hector Berlioz, Gabriel Fauré and Richard Strauss. It demonstrates the need for interdisciplinary research on how people ascribe meaning to referentialism in music, including music emotion induction. The target audience for this research includes scholars interested in the creation of visual art, the experiences of artists, art song and their interpretation, the ability of music to evoke emotion in listeners, interdisciplinary research and ways of developing artistic research. In Chapters 1-5, the authors contextualised the main concepts of music and art relevant to this study, and Chapters 6-11 reflect empirical data.This study aimed to explore the phenomenon of how visual artists ascribe meaning to music during their artistic practice. This was done using a pluralistic methodological approach employing artistic research and phenomenology. As a result, new understandings of the relationship between music, emotion and imagery reflected in the art are revealed. According to Chrysostomou ( 2004), interdisciplinary research should only be attempted when the disciplines find common ground in their subject matter and when the method adopted for inquiry can extract data from both fields. In music and art, common elements link them both in content and how a method can be utilised. This study not only contributes new knowledge about the experiences of artists and their practice, as well as ascribing meaning to music, but also contributes to the discourse surrounding the innovation and development of artistic research as a method, specifically using a pluralistic approach. In accordance with the Department of Higher Education and Training requirements, this book contains more than 50% original content not published before, and no part of this work has been plagiarised.

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Section: 'Nagmusiek'mentioning

confidence: 99%

Section: Meaningmentioning

confidence: 99%

Section: Mélodie Meaning and Emotionmentioning

confidence: 99%

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Music, Art and Emotion: Depictions of the Night Inspired by Romantic Art Song

Meyer¹,

Venter²

2022

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Reimagining Fauré’s Solo Vocal Music: New Editions and Recordings of the Songs and Vocalises

Savage¹

2017

Nineteenth-Century Music Review

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If familiarity does not always breed contempt, it can obscure the full range of meanings inherent in the object it contemplates. This is certainly true of the songs of Gabriel Fauré, which remain a mainstay of the education of young singers and of the canon of art song. Fauré's songs (mélodies) generate for many a sense of personal attachment and even ownership. One need look only, to take one example, at the heated comments on YouTube that follow videos of Philippe Jaroussky and Dame Kiri Te Kanawa performing the perennial Fauré favourite 'Nell', to be reminded of this. 1 The burning issue in this case is tempo: 'Too fast!' cry the detractors, and they certainly have a case given the very slow metronome mark that 'Nell' has carried ever since the first edition, which seems at odds with the music and unduly taxing for the singer. While such YouTube comments are hardly a scientific measure of opinion, they reflect a broader truth familiar to any modern classical musician, namely that the concept of textual fidelity, even if imperfectly understood and sometimes applied too literally, matters to many beyond the scholarly community and affects the ways in which this music lives on in performance today. It is difficult to predict, of course, how far any new critical edition can turn back the tide of performance traditions based on earlier texts, or indeed those stemming 1

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‘Under the Gallic Spell’: Boston's Embrace of Gabriel Fauré, 1892–1924

Savage¹

2021

Nineteenth-Century Music Review

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French influence on American twentieth-century music has long been central to historical narratives, particularly in relation to Nadia Boulanger and her pupils from the 1920s onward. Yet the much earlier impact of Gabriel Fauré (1845–1924), Boulanger's own teacher, has been largely ignored. While most American audiences around the turn of the century were largely unfamiliar with Fauré, Boston embraced his music enthusiastically. By the 1890s, a growing Francophile aesthetic reflected in the city's musical life encouraged performances of French repertoire, and a remarkable number of Fauré's compositions were introduced, some heard frequently enough to become well known to local audiences. Many of Boston's most influential critics, educators, performers and patrons admired Fauré and advocated for him as a representative modern French composer. That his music was so warmly welcomed in Boston at the end of the nineteenth century without any overt self-promotion by the composer has not been widely known until now. Although Fauré never visited the United States, his music found a home away from home in Boston, both while he was still living and well beyond.

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Gabriel Fauré, a Neglected Master

Cited by 4 publications

References 0 publications

Music, Art and Emotion: Depictions of the Night Inspired by Romantic Art Song

Music, Art and Emotion: Depictions of the Night Inspired by Romantic Art Song

Reimagining Fauré’s Solo Vocal Music: New Editions and Recordings of the Songs and Vocalises

‘Under the Gallic Spell’: Boston's Embrace of Gabriel Fauré, 1892–1924

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