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Fauré authentique

97825 - Fauré authentique

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Atmospheric salon pieces and sonatas from the composer’s late period: Marc Coppey invites you on a promenade through Fauré’s works for cello. François Dumont accompanies him on an Érard grand piano which was very close to the composer’s heart – “Fauré authentique”! more

These small pieces [...] can be consumed like sweets. [...] The freshness with which Coppey and Dumont play also brings a good vitality to the music. The interpretations are well structured and admirably balanced. (Pizzicato)

Track List

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Gabriel FauréMarc Coppey | François Dumont

Papillon, Op. 77 (02:51)

Gabriel FauréMarc Coppey | François Dumont

Berceuse, Op. 16 (03:25)

Gabriel Fauré Sonate N° 1 pour violoncelle et piano, Op. 109 (18:38) Marc Coppey | François Dumont

III. Allegro commodo (06:25)

Gabriel FauréMarc Coppey | François Dumont

Romance, Op. 69 (03:37)

Gabriel FauréMarc Coppey | François Dumont

Élégie, Op. 24 (06:30)

Gabriel FauréMarc Coppey | François Dumont

Sérénade, Op. 98 (03:13)

Gabriel FauréMarc Coppey | François Dumont

Sicilienne, Op. 78 (03:46)

Gabriel Fauré Sonate N° 2 pour violoncelle et piano, Op. 117 (18:00) Marc Coppey | François Dumont

III. Allegro vivo (04:53)

Gabriel Fauré, Pablo Casals (Arranger)Marc Coppey | François Dumont

Après un rêve, Op. 7/1 (Arr. for Cello and Piano) (03:13)

Gabriel FauréMarc Coppey | Pauline Bartissol

Allegretto moderato for Two Cellos (01:13)

Gabriel Fauré | Marc Coppey Dolly, Op. 56/1 (02:41) Marc Coppey | François Dumont

Berceuse (Arr. for Cello and Piano) (02:41)

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Details

Fauré authentique
Complete Works for Cello and Piano
article number: 97.825
EAN barcode: 4022143978257
price group: BCA
release date: 3. May 2024
total time: 67 min.

Bonus Material

Informationen

​Gabriel Fauré, a master of song, piano and chamber music, particularly appreciated the deeply colourful range of the Érard grand piano. Its rich overtones and clear bass register made it the ideal instrument for the French salon. This release presents not only Fauré's musical vision, but also the soundworld of the Érard grand piano, which played an important role in the musical scene at the time. 

Marc Coppey fully embraces the fluid rhetoric of Fauré's musical language. His interpretation deliberately eschews a perpetual espressivo, which would be stylistically incongruous, but instead delves deep into the nuances and facets of Fauré's compositions: "Fauré authentique" presents not only musical brilliance, but also an authentic journey through the French composer's complete works for cello and piano, embedded in the beautiful sound of the Érard grand piano. 

Reviews

Gramophone
Gramophone | June 2024 | Michelle Assay | June 1, 2024

Just as the musical world has moved on from the polarity of authentic versus modern performance, here comes the A-word again. This recital's claim toMehr lesen

Just as the musical world has moved on from the polarity of authentic versus modern performance, here comes the A-word again. This recital's claim to authenticity is first and foremost based on Francois Dumont's 1891 Erard piano, from the Musee de la Musique in Paris, illustrated in glossy photos in the digital booklet; its sound is light and transparent but not heard to its best advantage, I fear. The notes also bring up Marc Coppey's cello-playing as a marker of authenticity. But here the argument is soggy, resting on the assertions of his 'fully engaging with the fluid rhetoric of Faure's musical language' and eschewing 'a perpetual espressivo, which would be stylistically incongruous'.

Well, it's true that Faure's scores are not burdened by excessive indications, but espressivo certainly appears regularly, not least in the First Sonata. And whatever the theory, the cello sound falls short in terms of charm, sophistication and eloquence. The shortcomings of the current disc are particularly apparent in comparison with existing recordings, of which there are more than might be expected and whose numbers may swell as the centenary year proceeds. Particularly short-changed are those pieces that balance poise with pathos, such as the famous Elégie. Compare here the austerity and dryness of Coppey and Dumont with the elegantly weighted sound world of Isserlis and Devoyon or the quiet wistfulness of Gagnepain and Dayez on period instruments.

As with those discs, at the heart of Coppey and Dumont's programme are the two late sonatas. These are a far cry from the Fauré of sweet melodies and salon-music airiness. Darkly serious and densely textured, each sonata is a kaleidoscope of complex and unexpected harmonies and rhythmical patterns. The First, composed in 1917, clearly carries the scars of the Great War and its associated disillusionments; the jagged lines and a general feeling of unease of the first movement lead to a posttraumatic and elusive second and an impatiently flowing finale. Belonging to the period following Faure's resignation from the Conservatoire due to health issues, not least his incipient deafness, the Second Sonata is marked by greater inwardness and withdrawal, and even the playfulness of the dialogue of melodies in the first movement is now surrounded by a melancholic haziness. The second movement, echoing ' the Elégie, is a transcription of a funeral march composed for the centenary of Napoleon's death, to be performed at Les Invalides. Here again, I find Coppey and Dumont merely plodding, where Isserlis and Devoyon are majestic, and Gagnepain and Dayez are poetically mournful.

The interleaved shorter pieces return us to the Fauré of salon music, from the undulating melodies of the Sicilienne (originally incidental music to Moliere's Le bourgeois gentilhomme) to the sunlit, Catalan-tinted Sérénade (dedicated to Casals) and the rather insignificant but charming Morceau de lecture for two cellos (one of Fauré's conservatoire exam pieces). There is also the obligatory 'Après un rêve' in Casals's arrangement, here stark and direct rather than amorous and longing. The closing Berceuse from the Dolly suite in Coppey's arrangement is no match for the magical ending of Isserlis's disc, with its original version of the Op 67 Romance for cello and organ recorded in a church setting. If authenticity is still a thing, that fits the bill far more persuasively.
Just as the musical world has moved on from the polarity of authentic versus modern performance, here comes the A-word again. This recital's claim to

klassik.com | 13.05.2024 | Dr. Jürgen Schaarwächter | May 13, 2024 | source: https://magazin.... Gegen die Erwartungen
Marc Coppey und François Dumont betonen die unkonventionelle Seite Gabriel Faurés

Spannungsvolle Tempi, feinst ausgearbeiteter Klavieranschlag und Celloton und ein unbedingter Wille zum Dienst an der Musik ermöglichen zusammen mit hervorragender Aufnahmetechnik [...] Interpretationen, die besonders stark aufhorchen lassen.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Spannungsvolle Tempi, feinst ausgearbeiteter Klavieranschlag und Celloton und ein unbedingter Wille zum Dienst an der Musik ermöglichen zusammen mit hervorragender Aufnahmetechnik [...] Interpretationen, die besonders stark aufhorchen lassen.

www.pizzicato.lu | 03/05/2024 | Remy Franck | May 3, 2024 | source: https://www.pizz... Die zwei Faurés

Marc Coppey rahmt die beiden Cellosonaten von Gabriel Fauré mit kleineren Stücken aus der Gattung der Salonmusik, wie sie Gabriel Fauré liebte. DerMehr lesen

Marc Coppey rahmt die beiden Cellosonaten von Gabriel Fauré mit kleineren Stücken aus der Gattung der Salonmusik, wie sie Gabriel Fauré liebte. Der Komponist war oft im Salon der Princesse Edmond de Polignac-Singer zu Gast, mit der er eng befreundet war, sowie in jenem von Marguerite de Saint-Marceaux, der Frau des Bildhauers René de Saint-Marceaux, am Boulevard Malesherbes, wo Fauré seinen Schüler Maurice Ravel in die Pariser Gesellschaft einführte.
Man kann diese kleineren Stücke, die eher das Spiegelbild eines zarten und poetischen Temperaments sind als das Produkt einer starken und ausgeprägten Persönlichkeit, wie Süßigkeiten verzehren. In Schönheit. Manchmal auch träumend. Die Frische, mit der Coppey und Dumont spielen, bringt zudem eine gute vitale Qualität in die Musik. Die Interpretationen sind gut strukturiert und bewundernswert ausgewogen.
Die beiden Sonaten für Violoncello und Klavier gehören zum Spätwerk von Gabriel Fauré, in dem dieser Hauch von Salonmusik, der Faurés Kompositionen lange Zeit beeinträchtigte, völlig verschwunden ist.
Die Interpretationen werden Faurés festerer Handschrift und den ihn beeinflussenden äußeren Umständen – Kriegswirren, Krankheit – gerecht und nutzen gleichzeitig die harmonischen Raffinessen der beiden Werke voll aus. Die beiden Interpreten bemühen sich in flüssigem Spiel erfolgreich, die Beredsamkeit der Musik aufrecht zu erhalten und jegliche Monotonie zu verhindern.


English Translation:

Marc Coppey frames the two cello sonatas by Gabriel Fauré with smaller pieces from the genre of salon music that Gabriel Fauré loved. The composer was a frequent guest at the salon of Princess Edmond de Polignac-Singer, with whom he was close friends, as well as at the salon of Marguerite de Saint-Marceaux, wife of the sculptor René de Saint-Marceaux, on the Boulevard Malesherbes, where Fauré introduced his pupil Maurice Ravel to Parisian society.
These small pieces, which reflect a delicate and poetic temperament rather than a strong and distinctive personality, can be consumed like sweets. In beauty. Sometimes even like in a dream. The freshness with which Coppey and Dumont play also brings a good vitality to the music. The interpretations are well structured and admirably balanced.
The two sonatas for violoncello and piano are among the late works of Gabriel Fauré, in which the touch of salon music that for a long time marred Fauré’s compositions has completely disappeared.
The interpretations do justice to Fauré’s firm style and the external circumstances that influenced him – the turmoil of war, illness – while at the same time making full use of the harmonic refinements of both works. The two performers succeed in preserving the eloquence of the music and avoiding any monotony in their fluid playing.
Marc Coppey rahmt die beiden Cellosonaten von Gabriel Fauré mit kleineren Stücken aus der Gattung der Salonmusik, wie sie Gabriel Fauré liebte. Der

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May 21, 2024
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Gramophone
Just as the musical world has moved on from the polarity of authentic versus...
May 14, 2024
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Klangqualität: 5/5 - Fauré authentique
May 14, 2024
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Repertoirewert: 5/5 Sternen - Fauré authentique
May 14, 2024
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Interpretation: 5/5 Sternen - Fauré authentique
May 14, 2024
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klassik.com
Gegen die Erwartungen
May 3, 2024
class_NewsItem

Fauré's Berceuse Op. 16 was added to the Apple Music Playlist 'New in Classical' (#2/100)
May 3, 2024
class_NewsItem

Fauré's Berceuse Op. 16 was added to the Apple Music Playlist 'The Late Romantics' (#5/100)
May 3, 2024
class_NewsItem

Fauré's Berceuse Op. 16 was added to the Apple Music Playlist 'Classical in Spatial Audio" (#7/100)
May 3, 2024
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Fauré's Allegretto moderato for two Cellos was added to the Apple Music Playlist 'Classical A.M.' (#3/75)
May 4, 2024
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BROADCAST: BBC Radio 3 "Record Review"
May 3, 2024
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Newsletter on CD release to general mailing list
May 1, 2024
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CD presentation in the "Exlibris" section of Rotary Magazine 5/2024
May 6, 2024
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4/5 Noten - Fauré authentique
May 6, 2024
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www.pizzicato.lu
Die zwei Faurés
May 2, 2024
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Listening Tipp - Fauré authentique
Apr 23, 2024
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Fauré's Élégie, Op. 24 was added to the Apple Music Playlist 'The Late Romantics' (#3/100)
Apr 19, 2024
class_NewsItem

Fauré's Élégie, Op. 24 was added to Deezer's Playlist 'Classical New Releases' (#14/129)
Apr 19, 2024
class_NewsItem

Fauré's Élégie, Op. 24 was added to the Apple Music Playlist 'New in Classical' (#99/105)
Apr 9, 2024
class_NewsItem

Fauré's Papillon, Op. 77 was added to the Apple Music Playlist 'The Late Romantics' (#7/94)
Mar 24, 2024
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Review on Facebook by Francois Benoît Cousté
Apr 10, 2024
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The album "Fauré authentique" was pitched for different Curated Classical Playlists
Apr 5, 2024
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Fauré's Papillon, Op. 77 was added to the Apple Music Playlist 'New in Classical' (#36/100)
Mar 22, 2024
class_NewsItem

Fauré's Sonate No. 2 pour violoncelle et piano, Op. 117: II. Andante was added to the Apple Music Playlist 'The Late Romantics' (#15/75)
Mar 22, 2024
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Fauré's Sonate No. 2 pour violoncelle et piano, Op. 117: II. Andante was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 22nd until 28th March (#65/75)
Mar 22, 2024
class_NewsItem

Fauré's Sonate No. 2 pour violoncelle et piano, Op. 117: II. Andante was added to the Apple Music Playlist 'New in Classical' (#37/100)
Mar 19, 2024
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Newsletter to media representatives (print and broadcast) nationally and internationally
Mar 8, 2024
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Fauré's Dolly, Op. 56: I. Berceuse (Arr. for Cello and Piano by Marc Coppey) was added to the Apple Music Playlist 'New in Classical' (#90/100)
Mar 6, 2024
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Newsletter on the availability of the new release to our distribution partners
Feb 28, 2024
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Fauré's Après un rêve, Op. 7/1 (Arr. for Cello and Piano by Pablo Casals) was added to Deezer's Playlist 'Classical New Releases' (#4/90)
Feb 29, 2024
class_NewsItem

Fauré's Élégie, Op. 24 was pitched for different Curated Classical Playlists
Feb 29, 2024
class_NewsItem

Fauré's Papillon, Op. 77 was pitched for different Curated Classical Playlists
Feb 29, 2024
class_NewsItem

Fauré's Sonate No. 2 pour violoncelle et piano, Op. 117: II. Andante was pitched for different Curated Classical Playlists
Feb 16, 2024
class_NewsItem

Fauré's Dolly, Op. 56: I. Berceuse (Arr. for Cello and Piano by Marc Coppey) was pitched for different Curated Classical Playlists
Jan 31, 2024
class_NewsItem

Fauré's Après un rêve, Op. 7/1 (Arr. for Cello and Piano by Pablo Casals) was pitched for different Curated Classical Playlists
Feb 10, 2024
class_NewsItem

Announcement / Interview Colmar Festival (22.03.-03.04.2024)
Jan 25, 2024
class_NewsItem

Fauré's Berceuse, Op. 16 was pitched for different Curated Classical Playlists

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