About Gabriel Fauré
Gabriel Urbain Fauré (12 May 1845 – 4 November 1924) was a French composer, often seen as a transitional figure between the Romantic period and Impressionism. In contrast with his harmonic and melodic style, which pushed the bounds for his time, Fauré’s rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he did utilize subtle large scale syncopations, similar to those found in the works of Johannes Brahms. Aaron Copland referred to him as the ‘French Brahms’.
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Top Tracks
Pavane, Op. 50
Sicilienne, Op. 78
Pavane
Après un rêve, op. 7, no. 1
Dolly Suite, Op. 56: I. Berceuse
Après un rêve, Op. 7, No. 1 (Arr. for Cello and Piano)
Pavane, Op. 50 (version for piano)
Cantique de Jean Racine
Sicilienne
Pie Jesu
Dolly, op. 56: 1. Berceuse
In Paradisum
Fauré: Pavane, Op. 50
Après un rêve, Op. 7, No. 1 (Arr. Piano)
Berceuse, Op. 16
Dolly, Op.56: 1. Berceuse
Elégie in C Minor, Op. 24 (Arr. Parkin)
Après un rêve, Op.7, No.1 (Arr. Cello & Piano)
Agnus Dei
Dolly, Op. 56 (version for piano 4 hands): I. Berceuse
8 Pièces brèves, Op. 84: No. 5, Improvisation in C-Sharp Minor
Trois Romances Sans Paroles, Op. 17: 3. Andante moderato
Dolly-Tendresse
Requiem, Op. 48:IV. Pie Jesu (Arr. for Piano)
Pavane-Andante molto moderato
Requiem in D Minor, Op. 48: In Paradisum
Fauré: Sicilienne, Op. 78
Cantique de Jean Racine, Op. 11
Pelleas et Melisande-Fileuse
Elégie in C Minor, Op. 24 (Arr. Parkin for Cello Ensemble)
Requiem: Sanctus
Sanctus
Trois romances sans paroles, Op.17: 3. Andante Moderato
Pelléas et Mélisande, Op. 80: 4. Sicilienne
Masques et bergamasques Suite, Op. 112: IV. Pastorale
Requiem, Op. 48: VIII. In Paradisum
Les berceaux, Op.23, No.1
Dolly-Mi-a-ou
Morceau de Concours
Pavane pour orchestre
Libera me
Sicilienne, Op. 78 (arr. for orchestra)
Pavane in F-sharp minor, Op. 50
Après un rêve
Fauré: Pavane in F-Sharp Minor, Op. 50
Requiem, Op. 48: In Paradisum
Pelléas et Mélisande, Op. 80, Suite: III. Sicilienne
3 Romances sans paroles, Op. 17: No. 3, Andante moderato in A-Flat Major
Requiem: Introit et Kyrie
3 Romances sans paroles, Op. 17: No. 3 in A-Flat Major. Andante moderato
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