In L'Horizon Chimerique and, later, in the thirteenth nocturne, Fauré steps down from his place on the lofty peaks and gives one last utterance to a very human longing for unobtainable youth. His nostalgic pursuit, alas, ends in the bitterness that comes of "thwarted dreams of ocean voyages" and "love lost on their vessels". It is the be,ginning of 1923 and all that remains to complete the triumphal arch of Fauré's creativity is the keystone ---a chamber music crown wrought of its highest species: the String Quartet. He avoided this form throughout his life, intimidated and victimized by a deferential dread of Beethoven's shatterIng pre-emmence. Brahms displayed a similar attitude a half-century earlier as did César Franck, who waited until the very end of. his life to write his only Quartet. And, with Faurés's eightieth birthday drawing near, the String Quartet remains the only major form of chamber music still missing from his catalogue.
On July 23, 1923, he wrote his wife: "I am trying to work. I write down some notes here and there, hoping that something will come out of it: God, a table, or even the kitchen sink! But my mind is sluggish and I don't seem to be good. for much anymore." On August, 1: "I write a little music every day ---very little, to he truthful. And, like all the other times, 1 still have no way of knowing that will become of these first gropings". At last, on September 9, he lifts the veil of mystery and bares all his apprehensions in the extraordinary chronicle that follows:
"I have undertaken a Quartet for stringed instruments, without piano. It is a form to which Beethoven did particular honor which means that if you are not Beethoven, it gives you the jitters! It always frightened Saint-Saens who trIed his hand at it only towards the end of his life, and he dit not enjoy the same success with it as with other forms of composition. So you can just imagine how scared I am now that it's my turn. I've spoken to none about it and will say nothing until I near the end. When someone asks me: "Are yoy working? I shall answer with impudence: no! So, keep this to yourself." Despite all this, he was able to announce on September 13: "Last night I wrapped up the first piece of the Quartet I wrote you about in my last letter."
Fauré composed the first part during the last months of 1923, reusing the themes from his youthful Violin Concerto of 1878 (Opus 14) which he never orchestrated. disavoed and destroyed. We are still in suspense, then, as to the final measures only. The composers concern with protectlng the secret was such that on the foldercontaining the manuscript he wrote only these words: "Annecy-le-Vieux"! Long months of frailty and ill health followd and, when left Paris for the last time on June 20, 1924 he headed directly for Divonne. But it was only on the 18th of Julv that he was able to write his wife: "I have finally begun working again. but I dare hardly say so." On the 24th, Mr. Maillot came to take him by car to Annecy-le-Vieux where, during what was to be his last summer In Savoy, the light Finale was born. August 20 brings this declaration: "I hope at last to bring my Quartet to its completion and September 9 proves more specific: I can say that my work is nearmg its end. With the piece I am in the process of finishing the Quartet would be satisfactorily complete: it would be like my Trio, in three parts. But, as I am in no hurry to present it to the public, I just might insert a fourth part." And, on September 12: "Last night I finished the Finale, so the Quartet is completed unless I think of a little fourth piece which could find a place between the first allegro and the andante."
In free sonata form, the Allegro is very cocise and highly linear in composition. Austere in character, its solemn and sustained bearing majestically conveys a sense of melancholic totality. The opening theme consists of two elements: an ascending question, restless in its climb, and melodic response which is both hopeful and resigned. The second theme very bright constitutes one of Fauré's most beautiful melodic conceptions. At one and the same time, its tender and forceful, ardent and sober. Fauré minimizes the contrasts between his themes more than ever. The simple and brief exposition if followed by a development which accentuates the polyphonic severity of the initial idea, interrupted by only a few appearances by the other elements. The capitulation is "camouflaged" at its outset so that only the melodic response comes out undesguised. The concluding development elaborates on this response which loses no time in modulating to the brightness of E major. The initial idea is re-established by the tranquil conclusion and ends pianissimo.
Formal Plan Exposition mes. 1-59; Development mes. 60-102; Recapitulation mes. 103-154; Concluding development mes. 155-187;; Coda mes 188-206.
This exalted and long-drawn moan is the pinnacle of the Quartet. We are dazzled by this final display of all the charms of Fauré's harmony, held spellbound by its enharmonic subtleties and imperceptible modulations. The form of this sublime Andante is rather complex, exhibiting some of the characteristics of the Lied and Rondo. The uniformity and admirable afflatus of its inspiration, however, are betrayed by its excessively partitioned plan. its first theme rises up from despondency to consolation, displaying in its third measure that ascending augmented fourth (E flat - A) which invariably is Fauré's mean of expressing the desire to attain the ineffable. Following in rapid succession is a sub-idea a simple viola melody to the soft accompanying figurations of persistent quavers, taken over by the violin. At this time new thematic material intervenes, calling on certain elements of the preceding theme (particularly the augmented fourth!), while constituting a separate and sovereign melody. It is the subject of a first important ascending progression, taut with passion. but which must redescend and make room for the third principal theme whose cramped. narrow intervals are the plastic expressions of the stifled pain that comes with old age. The return of the opening theme sets into motion an important development. impassioned and ever increasing in intensity. Once again, a decrescendo re-eslablishes the third idea, swiftly followed by the second. The final reappearance of the first theme signals a sort of concluding development, a new billow of passions, as fervent as the first, but this time having only this one theme to sustain the progression. It is this same theme which dominates the. coda in A major with its strange and vaulting dissonances, like a smile in the mist of tears.
Formal plan: A mes 1-15; M mes 16-23; A' mes. 24-47; C mes. 48-67; development: A then A' mes. 68-105; C mes. 106-115; B mes. 116-122; second development: (A) mes. 123-152; coda (A) mes. 153-161.
Claude Rostand rightfully pointed out to Philippe Fauré-Fremiet that at times the playfulness desired by the composer is transformed into a somewhat breathless sense of anguish. It was not Fauré's intent to pursue the perturbing tone and painfu1 purity of the preceding pieces here in the Finale. However, it rises to their level of Importance. because of its incomparable quality of composition. Within its rather substantIal dimensions. its various elements are alternated in the manner of a rondo. However, an analysis reveals a plan of sonata form with a single development only, but this of vast proportions. The principal theme sings out on the cello to the accompaniment of pizzicati in persistent rhythm, stressing the weak beats. An Important consequent with two elements promptly follows, with ascending sequential modulations defying all laws of gravity. The second element is based essentially on the ascensional aspiration of the augmented fourth, thereby establishmg a link with the Andante. The true second theme, with its accompanying quavers, is almost painful in its intensity All the different elements then alternate during the course of an important development. The major mode settles in comfotably, almost with our awareness, well before the recapitulation. A motive of triplets throughout the recaptulation, bursting into full bloom and ending in an enthusiastic coda whose brilliance is almost orchestral.
Formal plan Exposition: bars 1-58; Development: 59-190; Recapitulation: 191-255; Coda: bars 256-312.
Brussels, June 1970
Harry HALBREICH
Marinkyo's School > Gabriel Fauré > Notes by Harry Halbreich > QUARTET FOR STRINGS IN E MINOR Op. 121 by Harry Halbreich
