This noble work, completed in 1897, is Fauré's single attempt at a large form in his pianistic output. It is deservedly considered as one of the undisputed masterpieces of its kind, and accordingly appears on concert programs less unfrequently than other Fauré pieces. It is an impressive but concise monument to Fauré's innate sense of classicism. and while the overall architecture is severely controlled (only the last but one Variation departs from the theme's original periodic structure, and only the last of all abandon the original key for the tonic major). each Variation is a precious character piece of a completely individual appeal. The Theme (Quasi Adagio in C sharp minor). a grave and stately melody in dotted rhythms, in the character of a funeral procession, alternate two complementary elememts and boasts a symmetrical struture in five periods. The first Variation entrust the theme to the left hand, where it is heard in its original form for the secoond and last time. Variation 2 to 5 increase the tension by gradual aceleration of tempo, changes of time-signature, the introduction of syncopation, chromaticism and various new pianistic device. The sixth variation (Molto Adagio) act as a deeply meditative contrast whereas the seventh is in the charcter of dramatic dialogue and the eighth of peaceful interlude. In the Quasi Adagio of the ninth Variation, Fauré's characterisitic of enharmony appears for the first time. The tenth, a Variation of the "amplificately" type, 134 bar in length, is a brilliant Scherzo (Allegro vivo, 3/8 time), culminating in resounding fortissimo climax. This is followed by the sublime epilogue of the eleventh Variation, Andante molto moderato, espressivo, a wonderful four-part polymelodic piece in C sharp major, dying out softly in a mood of serene reconciliation.
Harry HALBREICH
Marinkyo's School > Gabriel Fauré > Harry Halbreich > Gabriel Fauré / Thème et Variations
