Piano Solo. Ballade Piano Collection For Play I...
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Much of Fauré's piano music is difficult to play, but is rarely virtuosic in style. The composer disliked showy display, and the predominant characteristic of his piano music is a classical restraint and understatement.
In later years Fauré's music was written under the shadow of the composer's increasing deafness, becoming gradually less charming and more austere, marked by what the composer Aaron Copland called "intensity on a background of calm."[13] The critic Bryce Morrison has noted that pianists frequently prefer to play the accessible earlier piano works, rather than the later music, which expresses "such private passion and isolation, such alternating anger and resignation" that listeners are left uneasy.[19] The Fauré scholar Jean-Michel Nectoux writes:
The Pavane (1887) was conceived and originally written as an orchestral piece.[75] Fauré published the version for piano in 1889.[14][53] In the form of an ancient dance, the piece was written to be played more briskly than it has generally come to be performed in its familiar orchestral guise. The conductor Sir Adrian Boult heard Fauré play the piano version several times and noted that he took it at a tempo no slower than crochet=100.[76] Boult commented that the composer's sprightly tempo emphasised that the Pavane was not a piece of German romanticism.[76]
In Koechlin's view, "Apart from the Préludes of Chopin, it is hard to think of a collection of similar pieces that are so important".[90] The critic Michael Oliver wrote, "Fauré's Préludes are among the subtlest and most elusive piano pieces in existence; they express deep but mingled emotions, sometimes with intense directness ... more often with the utmost economy and restraint and with mysteriously complex simplicity."[88] Jessica Duchen calls them "unusual slivers of magical inventiveness."[91] The complete set takes between 20 and 25 minutes to play. The shortest of the set, No. 8, lasts barely more than a minute; the longest, No. 3, takes between four and five minutes.[92]
Fauré made piano rolls of his music for several companies between 1905 and 1913. The rolls that survive are of the "Romance sans paroles" No. 3, Barcarolle No. 1, Prelude No. 3, Nocturne No. 3, Thème et variations, Valses-caprices Nos 1, 3 and 4, and piano versions of the Pavane, and the "Sicilienne" from Fauré's music for Pelléas and Mélisande. Several of these rolls have been transferred to CD.[104] Recordings on disc were few until the 1940s. A survey by John Culshaw in December 1945 singled out recordings of piano works played by Kathleen Long, including the Nocturne No. 6, Barcarolle No. 2, the Thème et Variations, Op. 73, and the Ballade Op. 19 in its orchestral version.[105] Fauré's music began to appear more frequently in the record companies' releases in the 1950s.
I hope you enjoyed this lesson on learning how to use shell chords on a jazz piano ballad. As usual, practice all the above slowly in bite-size sections. Once comfortable, you can gradually increase speed until you can play it cleanly at full speed.
The two versions of Fauré's Ballade -- the first for solo piano, the second for piano and orchestra -- have very few bar-to-bar discrepancies, but their effects are quite different. The solo version, using Chopin's Ballades as its obvious model, is thick, large-scaled, and passionate; the concerto version, by redistributing the thematic and harmonic strands, seems leaner and more elegant. Fauré showed an early version of the solo Ballade to Franz Liszt in 1877; the older composer played part of it, then asked Fauré to finish, saying, "I have no more fingers." The writing is elaborate and formidably difficult in the solo version. The more accessible version with orchestra, which the composer premiered with Edouard Colonne's orchestra in 1881, is no longer a display of virtuosity; this version seems more relaxed, even prettier. Debussy caustically dismissed it as overly charming and effeminate. The Ballade enjoys a very
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