A Narrative Approach to the Barcarolles for Solo Piano by Gabriel Fauré (1845-1924)
Abstract
Gabriel Fauré (1845-1924) was one of the most influential composers in France at the end of the nineteenth and beginning of the twentieth centuries. Through his compositions and roles as professor, and later, director of the Paris Conservatoire, Fauré was instrumental in the development of twentieth-century French music; shaping “the core of the first wave of French composers to be wholly ‘twentieth-century’” (Duchen, 2000).
Fauré’s compositions span 121 opuses and his works for voice and chamber ensemble are well known amongst singers and chamber musicians alike. However, his name and works for solo piano are unfamiliar amongst performing pianists. This is for no lack of music written for the instrument for he wrote approximately 60 pieces for the piano.
One of his most important contributions to the piano repertoire is his collection of barcarolles. Inspired by the songs of the Venetian Gondoliers, the barcarolle was a well-established genre prior to Fauré composing his first barcarolle, which was published in 1881. Mendelssohn (1809-1847) composed three, and Chopin (1810-1849) composed one, Barcarolle in F♯ major, Op. 60, which is the most famous barcarolle for solo piano. However, Fauré’s collection of barcarolles is the largest contribution to the genre by a single composer and argued to have defined the genre, earning Fauré the title of “master of the barcarolle” (Crouch, 4). This raises the question: if Fauré’s collection is the pinnacle of the genre, why is Chopin’s barcarolle the most famous? One reason for this is because Fauré’s works are considered difficult to understand.
To bridge the divide, this monograph advocates for a narrative approach. Using an adaptation of Byron Almén’s model (2008), this monograph demonstrates how a narrative approach can guide the interpreter from analysis to concept, to interpretation, and to performance. The work demonstrates how the results of the analysis can be used to create a narrative that the interpreter can use to investigative how they choose to physically perform the piece in order to create a captivating performance. The hope is that through greater understanding and captive performances, these works will finally earn their place on the concert stage.