Fauré's First Quartet in C minor, Op. 15 for piano and strings is an early example of his artistic maturity, agility of writing and youthful high spirits combined with new found forcefulness and drive. First composed in 1879, it was later revised during a stay with friends in Sainte-Adresse. After compeletion of the Sonata in A major for violin and piano (1876) , many important changes occurred in Fauré's life, the most traumatic of which was the breaking off of his engagement to Marianne Viardot (1878). Less shattering emotionally were two vi sits to Germany where he heard Wagner's tetralogy which greatly impressed him although he never came under Wagner's influence muskally, even temporarily. Dedicated to the great violinist Hubert Leonard, the C minor quartet was first performed at the Société Nationale, Feb. 14, 1880, the year of another major French work, the Piano Quintet of César Franck.
Emile Vuillermoz credits the success of Fauré's piano quartets and quintets in large measure to the flexibility of the piano writing. Arpeggios, broken figures and long sinuous lines are meshed with tightly woven and homogeneous strings to produce a remarkably rich texture. This agility of keyboard writing and compression of strings is one of the chief characteristics of these works.
Opus 15 follows the traditional four-movement form, more or less of equal duration. and containing some of the most beautiful and memorable music Fauré ever wrote. at the same time being one of his most straightforward and accessible works.
The first theme straightaway establishes the vigorous yet dignified rhythm of the traditional French courante. Its second exposition is more supple, more allusive. with chromatic counterpoint between viola and cello. A magical bridge passage to the second theme in the relative minor key which, like so many of Fauré's second themes, is based upon a sequential structure germinating from a characteristically rhythmic cell. The development section is almost entirely a paraphrase of the first theme, modulating by ascending thirds. Vincent d'Indy refers to this delightful passage in the first movement of his Symphonie Cénevole. Fauré next employs the inversion of the first theme; the second theme reappears fleetingly until the two themes are tightly woven in a contrapuntal web in the very heart of the movement. A brief but authoritive stretto leads to the forceful recapitulation. A grand coda on t he first theme dies away to a peaceful and discrete diminuendo.
Schema. Exposition: bars 1-73; Development: bars 74-158; Recapitulation: 159-218: Coda: bars 219-247.
Highlighted by a dazzling vivacity. with a Trio of exquisite finesse, this movement is an adated rondo form (ABACA, of which C is the Trio). A contempative 3bar motive appear in the piano (Ex. 11a), and is picked up by the strings un rhythmic variation (Ex. 11b), during which the key alternates Incessantly between E flat and the relative key of C minor. Vuiellermoz speaks of this gossamer-light passage as evoking the rhythm of the beating of wings of dragon-flies in flight. The development section is a sort of lyrical paraphrase (B) leading to the repeat of the first theme. Next, the Trio in the key of B flat major, with rich harmonies richly woven among muted strings and gaily running quavers of the piano in pursuit. A last repeat of the cherzo brings the movement to a close.
Schema; A: bars 1-79; B: bars 80-141; A: bars 142-221; C (Trio): bars 222-383; A: bars 384-460.
Although a case could be made for connecting this movement, so full of profound melancholy, with Fauré's painful experience of the breaking off of his engagement, the composer's artistic dicretion makes this hypothesis somewhat unlikely. The poignant first theme is based upon the repetition and expansion of a one-bar motive. At bar nine appear or he first time the broken harmonies which create such disturbing g intep·i ~t in he late Fauré. After an illusory brightening up and a brief flirtation with the key of D flat. the music once again falls into the despondency of the first theme. Consolation comes with the second theme, the strings singing in B flat major over a gently rockmg piano accompamment (2 + 3), a pattern similar to the first theme. A wonderfully lyrical development full of Schumannean sevenths rises to a passionate forte, followed by a repeat of the first theme. The coda gently reflects upon the melancholy memory of the second theme delicately suggested by the piano.
Schema: A; bars 1-26; B: bars 27-65; A: bars 66-92; Coda (B): bars 93-105.
Schema: Exposition: bars 1-149; Development: 150-269; Recapitulation: 270-378; Coda: bars 379-451.
Brussels, June 1970
Harry HALBREICH
Marinkyo's School > Gabriel Fauré > Notes by Harry Halbreich > First quartet in c minor, Op.15 for piano and strings
