Fauré's songs in practice and perspective
- Submitting institution
-
The Royal Academy of Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- RAM034
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- Portfolio of editions, essays and recordings
- Open access status
- Out of scope for open access requirements
- Month
- -
- Year
- 2017
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
-
-
- Proposed double-weighted
- Yes
- Double-weighted statement
- Three volumes of critical editions, two articles and a CD.
- Reserve for an output with double weighting
- No
- Additional information
- The core of this project is the first complete critical edition of Fauré’s 110 songs and secular vocal duets, co-edited by Emily Kilpatrick and Roy Howat. This comprises four volumes (the last still in press), and includes several songs unpublished in the composer’s lifetime, together with others rendered inaccessible through exclusion from the established ‘collections‘, or by longstanding performing and source problems. The research advanced the discipline of critical editing through the elevation of performing sources and practices, alongside documentary study. This included working closely with practitioners to understand and solve practical and notational issues; and consideration of sources such as the composer’s documented performing wishes, early audio recordings and the written testimony of performers who worked with him.
The submission includes volumes 1–3 of Gabriel Fauré: Complete Songs, together with two articles that explicate the principles of the edition, explore musical sources and questions of performance practice, and deepen understanding of historical and literary contexts. The CD ‘Gabriel Fauré: The Complete Verlaine Settings‘ is the first recording of Complete Songs, vol. 3, and showcases the project’s new editorial discoveries in practice. The submission comprises: (1) Gabriel Fauré, Complete Songs (3 vols). Peters Edition, London, 2014–2017; (2) Kilpatrick and Howat, ‘Le wagnérisme de Fauré : Pénélope (1913) et les mélodies’, in Le wagnérisme dans tous ses états, 1913–2013, ed. Cécile Leblanc & Danièle Pistone. Paris: Presses Sorbonne Nouvelle, 2016; (3) Kilpatrick and Howat, ‘Gabriel Fauré’s Middle-Period Songs, Editorial Quandaries and the Chimera of the “Original Key”’, Journal of the Royal Musical Association 139/2 (Autumn 2014), 303–37; (4) Kilpatrick (piano), Howat (piano), Tony Boutté (tenor), ‘Gabriel Fauré, The Complete Verlaine Settings’, Peters Sounds, 2017.
- Author contribution statement
- -
- Non-English
- Yes
- English abstract
- Abstract for chapter ‘Le wagnérisme de Fauré’: This chapter explores Fauré’s engagement with Wagner through three distinct periods: his early settings of Baudelaire; his experiences of and reflections on Wagner’s operas during the 1880s; and his opera Pénélope (1913). The heart of the chapter is an analytical survey of the three Baudelaire mélodies, ‘Hymne’, ‘Chant d’automne’ and ‘La Rançon’ (1870-71). The chapter argues that these three songs – long separated by the circumstances of their publication – form a cogent musical triptych, where demonstrable motivic connections underpin a thoroughly Baudelairean narrative of love, reason and mortality.