Mélodies et duos, Volume 1, Premières mélodies: 1861–1875 by Gabriel Fauré, and: Vocalises by Gabriel Fauré, and: Complete Songs, Volume 1: 1861–1882 by Gabriel Fauré, and: Complete Songs, Volume 1: 1861–1882 by Gabriel Fauré (review)

Abstract

Reviewed by: Mélodies et duos, Volume 1, Premières mélodies: 1861–1875 by Gabriel Fauré, and: Vocalises by Gabriel Fauré, and: Complete Songs, Volume 1: 1861–1882 by Gabriel Fauré, and: Complete Songs, Volume 1: 1861–1882 by Gabriel Fauré Mary Dibbern Gabriel Fauré. Mélodies et duos, Volume 1, Premières mélodies: 1861–1875. Édition critique établie par Mimi S. Daitz et Jean-Michel Nectoux. (Musica Gallica.) Paris: J. Hamelle, worldwide dist. by Alphonse Leduc, 2010. [Acknowledgements in Fre., Eng., p. iii–iv; pref. in Fre., Eng., p. vii–xii; plates, p. xiii–xviii; score, p. 1–127; song texts in Fre., Eng., p. 129–52; editorial principles in Fre., Eng., p. 153–66; crit. notes in Fre., p. 167–206. ISMN 979-0-2307-9729-0; pub. no. HA 9 729. €60.79.] Gabriel Fauré. Vocalises. Voice and Piano = Chant et piano = Singstimme und Klavier. Critical edition by = Édition critique de = Kritische Ausgabe von Roy Howat, Emily Kilpatrick. First edition = Première publication = Erstveröffentluchung. London: Peters Edition Ltd., 2013. [Introd. by François Le Roux, p. iii; plate, p. v; pref. in Eng., Fre., Ger., p. vi–xiii; list of progressive musical challenges in Eng., Fre., Ger., p. xiv; contents with ranges, tempos, dates, p. xv; score, p. 2–35; appendix 1, unattributed vocalises probably by Fauré, p. 36–48; appendix 2, dictations, p. 49–51; crit. commentary in Eng., p. 52–56; chronological index, p. 57; ISMN 979-0-57700-445-7 (back cover), ISMN 979-0-014-11441-1 (title page verso); pub. no. EP 11385. $19.96.] Gabriel Fauré. Complete Songs, Volume 1: 1861–1882. Medium Voice = voix moyennes = mittlere Stimme. 34 songs for voice and piano = 34 mélodies pour chant et piano = 34 Lieder für Singstimme und Klavier. [End Page 221] Critical edition by = Édition critique de = Kritische Ausgabe von Roy Howat & Emily Kilpatrick. London: Peters Edition Ltd., 2014. [Plates, p. iv–v; general pref., and pref. to vol. 1 in Eng., Fre., Ger., p. vi–xxv; index with ranges, p. xxvi–xxvii; song texts in Fre., Eng., Ger., and Tuscan, p. xxviii–xli; bibliog., p. xlii; score, p. 1–127; table of known chronology and dedicatees in Eng., p. 128–29; crit. commentary in Eng., p. 130–51; appendix, p. 152. ISMN 979-0-014-11761-0; pub. no. EP 11391b. $26.53.] Gabriel Fauré. Complete Songs, Volume 1: 1861–1882. High Voice = voix élevées = hohe Stimme. 34 songs for voice and piano = 34 mélodies pour chant et piano = 34 Lieder für Singstimme und Klavier. Critical edition by = Édition critique de = Kritische Ausgabe von Roy Howat & Emily Kilpatrick. London: Peters Edition Ltd., 2014. [Plates, p. iv–v; general pref., and pref. to vol. 1 in Eng., Fre., Ger., p. vi–xxv; index with ranges, p. xxvi–xxvii; song texts in Fre., Eng., Ger., Tuscan, p. xxviii–xli; bibliog., p. xlii; score, p. 1–127; table of known chronology and dedicatees in Eng., p. 128–29; crit. commentary in Eng., p. 130–51; appendix, p. 152. ISMN 979-0-014-11760-3; pub. no. EP 11391a. $26.53.] In recent years since the end of the extension of copyright for Gabriel Fauré’s works, his mélodies have been the subject of two critical editions, published by Hamelle and Peters. Jean-Michel Nectoux and Mimi S. Daitz prepared Hamelle’s Mélodies et duos, volume 1, Premières mélodies 1861–1875, which begins with Le papillon et la fleur (1861), the composer’s first romance, and ends with Au bord de l’eau of 1875. Roy Howat and Emily Kilpatrick have completed the first volumes of Peters’s Gabriel Fauré, Complete Songs with Volume 1: 1861–1882 (high- and medium-voice versions), and also edited the premiere publication of all of Fauré’s accompanied Vocalises, forty-five in total, only one of which, the well-known Vocalise-Etude of 1907, had been intended for publication. In their preface to the Vocalises, Howat and Kilpatrick explain that these mostly short exercises were written between 1906 and 1916 when Fauré was the director of the Paris Conservatoire. Although they were originally intended for use in sight...