Fauré and French Musical AestheticsCambridge University Press, 2004 M03 11 - 348 pages This wide-ranging study of Gabriel Fauré and his contemporaries reclaims aesthetic categories crucial to French musical life in the early twentieth century. Its interrelated chapters treat the topics of sincerity, originality, novelty, self-renewal, homogeneity and religious belief in relation to Fauré's music and ideas. Taking a broad view of cultural life during the composer's lifetime and beyond, the book moves between specific details in Fauré's music and related critical, literary and philosophical issues, ranging from Gounod to Boulez and from Proust to Valéry. Above all, the book connects abstract values to artistic choices and thus places such works as Fauré's Requiem, La bonne chanson, La chanson d'Eve, L'horizon chimérique, and the chamber music in a new light. |
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aesthetic Aguettant André André Messager artistic atheism Bergson bonne chanson Boulez Carraud century chamber music chanson d'Ève chapter Charles Koechlin cited Claude Debussy Combarieu composer composer's composition concept Conservatoire contemporaries creative critics d'Indy Debussy Debussy's Dukas Dukas's essay Example expression Fauré to Marie Fauré's music Fauré's Requiem française France French music Gabriel Fauré Gallimard Gounod harmonic historical homogeneity Ibid idea ideal influence inner innovation Jankélévitch Jean-Michel Nectoux Koechlin La bonne chanson La prisonnière Lalo Laloy Lerberghe Lerberghe's letter Lettres intimes Mallarmé Marcel Marie Fauré Massenet's melody metrical modern mort musicians musique novelty Œuvres originality pantheism Paris passage Paul Dukas Pénélope Philippe Fauré-Fremiet phrase piano Pie Jesu Pierre Lalo plainchant poem prisonnière Proust pure music Quartet Quintet Ravel religious music Saint-Saëns Schola seems self-renewal sensibility sincerity Sonata song style stylistic theme thought tion tonal tradition translation unity Valéry Vincent d'Indy Vinteuil's Vladimir Jankélévitch voice Vuillermoz Wagner words wrote