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The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Roth Family Foundation Imprint in Music, established by a major gift from Sukey and Gil Garcetti and Michael P. Roth.
Also, support for this publication was generously provided by the Publications Endowment of the American Musicological Society, supported in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
The Fauré Song Cycles
Poetry and Music, 1861–1921
Stephen Rumph
UNIVERSITY OF CALIFORNIA PRESS
University of California Press
Oakland, California
© 2020 by Stephen Rumph
Library of Congress Cataloging-in-Publication Data
Names: Rumph, Stephen C., author.
Title: The Fauré song cycles : poetry and music, 1861–1921 / Stephen Rumph.
Description: Oakland, California : University of California Press, [2020] | Includes bibliographical references and index.
Identifiers: LCCN 2020004308 (print) | LCCN 2020004309 (ebook) | ISBN 9780520297623 (cloth) | ISBN 9780520969902 (epub)
Subjects: LCSH: Fauré, Gabriel, 1845–1924. Songs. | Song cycles—19th century—History and criticism. | Song cycles—20th century—History and criticism. | Songs—19th century—Analysis, appreciation. | Songs—20th century—Analysis, appreciation. | Music and literature—France—History—19th century. | Music and literature—France—History—20th century.
Classification: LCC ML410.F27 R86 2020 (print) | LCC ML410.F27 (ebook) | DDC 782.4/7092—dc23
LC record available at https://lccn.loc.gov/2020004308
LC ebook record available at https://lccn.loc.gov/2020004309
29 28 27 26 25 24 23 22 21 20
10 9 8 7 6 5 4 3 2 1
For Joseph Kerman, in memoriam
CONTENTS
Cinq mélodies “de Venise,” op. 58
Mirages, op. 113 and L’horizon chimérique, op. 118
MUSIC EXAMPLES
Example 1.1. Common pentatonic motive in Fauré’s settings from Hugo, Les chants du crépuscule.
Example 1.2. Fauré, “Le papillon et la fleur,” mm. 1–25.
Example 1.3. Fauré, “Puisque j’ai mis ma lèvre,” mm. 1–40.
Example 1.4. Fauré, variation of a head motive across the first strophe of “Mai.”
Example 1.5. Fauré, “S’il est un charmant gazon,” mm. 1–24.
Example 1.6. Fauré, “S’il est un charmant gazon,” mm. 57–68.
Example 2.1. Fauré, “Lydia,” mm. 1–19.
Example 2.2. Tonal ambivalence in Fauré, “Rencontre,” Poème d’un jour, op. 21, mm. 1–21.
Example 2.3. Modulation by Weitzmann regions in Fauré, “Toujours,” mm. 11–25.
Example 2.4. Weitzmann region in Fauré, Introït, Requiem, op. 48, mm. 50–61. Derived from Cohn, Audacious Euphony, 55.
Example 2.5. Fauré, “Adieu,” Poème d’un jour, mm. 1–12.
Example 2.6. Hypothetical half cadence in Fauré, “Adieu,” Poème d’un jour, m. 8.
Example 2.7. Fauré, “Adieu,” Poème d’un jour, mm. 28–34.
Example 3.1. Minuet modules in Fauré, “Clair de lune.”
Example 3.2. Transformation of a prosodic rhythm in Fauré, “Mandoline,” Cinq mélodies “de Venise,” op.
