Unlike the categories of pieces we have examined so far the Preludes originated as a single set, written during the two summers of 1909 and 1910, when Fauré was engaged in the composition of Pénélope. The vicinity of that lofty masterpiece can be felt at any moment in this splendid and sadly neglected work, one of the climaxes of Fauré's pianistic output, which surely ought to enjoy a fame equal to that of Chopin's or Debussy's Preludes. While he was composing these pieces, Fauré wrote the significant words: "With piano music, you can't use any padding, you have to pay cash and remain interesting all the time. It is perhaps the most difficult of all musical genres if one wants to do it in as satisfying a way as possible ... and that's what I am trying to do!" It should be added that he triumph ally succeeded, for each of the Preludes is a masterpiece in its own right, and they are all different. being most effective when performed as a cycle, true to their composer's intentions. No. I in D flat major, an Andante of intimate and meditative charm. at once beguiles the ear through the extraordinary refinement of its harmonic and modulating idiom, achieved with a minimum of notes. Its repose contrasts with the restless and somewhat mysterious wheeling of the No. 2 in G sharp minor, No. 3 in G minor is a kind of lullaby or slow barcarolle, whose earnest and brooding expressivity is again enhanced through magic harmonies. No. 4 in F major unfolds its gently rocking lilt in a serene and almost naive pastoral atmosphere that is most unusual for Fauré. The passionate and stormy outburst of the dramatic No. 5 in D minor, with its unexpected calm conclusion forecasting the "white" Fauré of the ultimate String Quartet, brings a most striking contrast. No. 6 in E flat minor is a very strict canon with a freely flowing inner part, again a piece of great tonal subtlety, deceptive in its melodic ease. No. 7 in A major show a single great progression from its gentle opemng to Its passionate climax. The brilliant and vigorous Scherzo of No. 8 in C minor. wIth its effective staccato writing. again stands in complete contrast to the sublime No. 9 in E minor, a dark and lofty meditation, intense and secret at once in its expression, and which must be considered one of Fauré's supreme utterances.
Harry HALBREICH
Marinkyo's School > Gabriel Fauré > Harry Halbreich > Gabriel Fauré / The Préludes
