One-Coin Concert for ALL  <Faure Year>

Satoshi Ogihara, One-Coin Concert for ALL

The January performance of the One-Coin Concert for ALL will be the first performance of the 2024 Faure Year, the year 2024 being the 100th anniversary of Faure's death.We hope to deepen our understanding of Fauré as a person by introducing his works over the course of the year. The first performance will be two cello sonatas. The focus is on Faure's last works and the final stage of his own life.

I believe that the following chapters must be prepared when creating a portrait of Gabriel Fauré. I am neither a musicologist nor a performer, so this is only an image of Faure as seen by one who loves Faure.

<Homage to Chopin>

The period when he was presenting his works at the Paris Salons marked the starting point of Fauré's career as a composer. An overview of Faure's works clearly shows his deep respect for Chopin, which pervades his life. Throughout his life, he continued to follow Chopin's lead in composing piano pieces in the genres of boat songs, nocturnes, preludes, and improvisations. He was not so enthusiastic about orchestral music. This is also similar to Chopin.

-Fauré Nocturne No. 1 is very similar to Chopin's Nocturne No. 1. In this performance, we will have pianist Mr. Watanabe play the beginning of both to confirm this in sound.

-The Cello Sonata seems to be inspired by Chopin's last cello sonata. Both works were composed at a difficult time for each composer, both personally and as a composer. The two works are a reflection of the two composers' styles, but if one were to look for similarities, one would find melodic and lyrical forms for both piano and cello, an equal balance between cello and piano (although the balance is slightly different in the two pieces), and a writing style that resonates not with style but with the listener's heart.

<Religion for Fauré>

Faure held an important position in French music, first as organist and later as choirmaster at the Madeleine Abbey in Paris. These duties brought him into close contact with liturgical music, and his responsibilities included composing and arranging music for religious ceremonies. Faure was a devout Catholic, and his religious beliefs played an important role in his life. The following two pieces are presented here.

-Cantique de Jean Racine

-Requiem

<As President of the Conservatoire de Paris>

Faure was appointed professor at the Conservatoire National Supérieur de Musique de Paris in 1896.He succeeded Jules Massenet as professor of composition.Faure's association with the Conservatoire was long-lasting, and he later served as director of the Conservatoire from 1905 to 1920. Musicologist Henry Prunières writes: "Fauré was a great student of the Conservatoire."What Fauré cultivated in his students was a sensitivity to harmony, a purity of melodic line, and a love of unexpected and colorful modulations."

-Nadia Boulanger: Boulanger was one of the most influential music teachers of the 20th century. She was a renowned composer, conductor, and teacher. She became a renowned composer, conductor, and teacher, and had a profound influence on the development of many composers and musicians.

-Maurice Ravel Ravel is one of the most important French composers of the 20th century. His works are known for their meticulous craftsmanship and imaginative orchestration. Ravel and Faure have maintained an enduring friendship.

-George Enescu: A Romanian composer, violinist, pianist, conductor, and teacher, Enescu studied composition with Faure at the Paris Conservatoire.

<Change in Compositional Style: Relation to Hearing Loss>

Gabriel Fauré's change in compositional style is certainly related to his progressive hearing loss, which began in the 1890s and worsened over the years. Fauré's later works, composed after his hearing loss began, show a more focused, introspective, and harmonically innovative style.

With his declining hearing, Fauré faced the challenge of expressing his musical ideas without relying as much on the auditory feedback that many composers use in the compositional process.This change in sensory experience probably influenced his approach to composition.Some of the characteristics of Fauré's later style, often attributed to his hearing loss, include the followingEmphasis on harmony and texture

-Innovation in harmony

-Depth of introspection and emotion

Although Faure's hearing loss was a great challenge, it is important to note that it did not diminish the quality of his compositions, but rather led to a distinct evolution in his musical style. His later works are acclaimed for their emotional depth, harmonic richness, and the unique voice he developed despite the difficulties he faced.

<Polyphony and Melody: Education, Bach>

Gabriel Fauré's compositions often exhibit a sophisticated approach to harmony and counterpoint, and show elements of polyphony and mode. Although Faure is not associated with the intense counterpoint complexity of his contemporaries such as César Franck, the use of polyphony and modes is an integral part of his musical expression. His education with Gabriel Fauré played a role in shaping his approach to polyphony and composition. Gabriel Fauré's formal musical education began at the Niedermeyer Conservatory, founded in Paris by the German-born French composer and conductor Louis Niedermeyer. Faure entered the Niedermeyer Ecole in 1854 at the age of nine. The school was known for its emphasis on rigorous training in composition, counterpoint, and organ playing. Under Niedermeyer's guidance, Faure received a solid foundation in music theory and practical skills. Faure's solid, traditional musical education and his studies at the Paris Conservatoire under prominent teachers influenced his compositional style.

The following are presented in sound.

-Bach Sinfonia G minor or E minor

-Nocturne No. 5 , 6

-Prelude in E minor (the last of the preludes)

-Requiem Piano Transcription