Fauré: Cello Sonata No. 1 in D minor, Op. 109 (reference recording: Paul Tortelier, Jean Hubeau)

[@classicalmusicreference]

Full Album available // Fauré: Élégie & Cello Sonatas by Paul Tortelier 🎧 Qobuz (Hi-Res) cutt.ly/BeaEHhYu Tidal (Hi-Res) cutt.ly/8eaEH2G9 🎧 Apple Music (Lossless) cutt.ly/oef2Y9HF Deezer (Hi-Fi) cutt.ly/TeaEJz1g 🎧 Amazon Music (Hi-Res) cutt.ly/deaEJFFj Spotify (mp3) cutt.ly/yeaEJ9XR 🎧 Idagio (Hi-Fi) cutt.ly/0eh4VxT5 KZbin Music (mp4) cutt.ly/GeaEKicx 🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/Classical-Music-Reference-Recording-Website-Faure-Tortelier Gabriel Fauré (1845-1924) Cello Sonata No. 1 in D minor, Op. 109 00:00 Cello Sonata No. 1 in D minor, Op. 109: I. Allegro (2024 Remastered, Studio 1962) 05:20 Cello Sonata No. 1 in D minor, Op. 109: II. Andante (2024 Remastered, Studio 1962) 12:37 Cello Sonata No. 1 in D minor, Op. 109: III. Final. Allegro commodo (2024 Remastered, Studio 1962) Cello: Paul Tortelier Piano: Jean Hubeau Recorded in 1962 New mastering by AB for classicalmusicreference.com/ 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ If you enjoy CMRR content, you can join our Patreon page and support our investments in audio equipment and software for $3,50 per month. Thank You :) www.patreon.com/cmrr CELLO SONATA OP. 109 Allegro (D minor / D major): While Fauré is often seen as a poetic composer, known for melodies in chiaroscuro, this allegro reveals a violent and raging character in its introduction. The piano and cello do not join forces-they clash! The piano accompaniment is harsh, with syncopated chords. The rhythm consists of a jagged sequence of a single eighth note paired with a triple chord, also in eighth notes, allowing only one beat per measure in triple time. The chords are hammered in a style reminiscent of Bartók. From the second measure, the cello boldly develops a furious melody, unbroken by syncopation or pause. The composer's anxiety and bitterness, fueled by his revulsion at the horrors of war, are powerfully depicted. Do the silences of the piano suggest a man falling into the mud every two beats (seconds)? Beyond its vehemence, the cello part is highly virtuosic. To quote J.M. Nectoux: "ruggedness, strength, an arsenal of rhythms." Is this music disembodied and chilling? Yes, in its essence, but the pianist’s phrasing, devoid of brutality, and the cellist’s lively expression bring a note of bitterness and nostalgia that foreshadows the movement's development. The piano breaks its assaults to develop a melody more in harmony with the cello. From barbaric, the dialogue becomes more amiable, almost affectionate. Does the major key and this intimate theme hint at a glimmer of hope? The two ideas will not undergo contrapuntal development, as if tragedy and hope cannot be reconciled. The return of the opening energy confirms this refusal to blend ferocity and meditation for aesthetic purposes. Fauré upends the chamber music style in this commanding allegro. Episode by episode, the allegro leads us to a vehement and savage coda. This allegro paves the way for modernity in chamber music. Moving away from the entertainment and romanticism of Mozart, Schubert, or even a young Fauré, the genre becomes more militant. A pinnacle of this trend can be found, for example, in Shostakovich’s harrowing Quartet No. 8. Andante (G minor): In the andante, Fauré seems to seek an escape from his dark thoughts, striving for serenity. This inner serenity rarely ventures into expressionism, unlike the musical impressionism of Vaughan Williams, with its pastoral settings or glowing forest strolls. The piano introduces a delicate, high-pitched march, symbolizing the path of reflection… perhaps. The cello presents an elegiac melody, avoiding the clichés of Fauré’s famous Élégie. This andante unfolds as a gentle crescendo imbued with tranquility, never tipping into sentimentality. The playing is straightforward, even when slow and introspective. The development grows in pathos, but with restraint; the cello’s song becomes powerful, and its impassioned melody bursts with heart-wrenching accents. A restatement of the initial theme demonstrates that, even in 1916, Fauré still valued the sonata form. A reprise of the introduction leads to a poignant conclusion, a reconciliation between the instruments. Finale: Allegro (D minor): After the stark contrast of the first two movements-one rare in its aggressiveness, the other almost mystical (a highly personal sentiment, as Fauré, an agnostic, was not inclined toward prayer)-the composer offers a whimsical and serene conclusion. With a capricious temperament, the cello part sings as rarely before, exploring its full range. Incredibly virtuosic yet flowing with an effortless grace under the fingers of Paul Tortelier…. Claude Toon Other Album available // Fauré: Requiem Op. 48 in D minor by Ernest Ansermet 🎧 Qobuz cutt.ly/deCdGYGe Tidal cutt.ly/teCdGZTo 🎧 Apple Music cutt.ly/IeCdHuLS Deezer cutt.ly/MeCdHPtO 🎧 Amazon Music cutt.ly/aeCdJxVK Spotify cutt.ly/DeCdJOHC 🎧 KZbin Music cutt.ly/XeCdJCJ6 Gabriel Fauré PLAYLIST (reference recordings): kzbin.info/www/bejne/Z5a2k3uNfcqfb7s

[@classicalmusicreference]

CELLO SONATA OP. 109 Allegro (D minor / D major): While Fauré is often seen as a poetic composer, known for melodies in chiaroscuro, this allegro reveals a violent and raging character in its introduction. The piano and cello do not join forces-they clash! The piano accompaniment is harsh, with syncopated chords. The rhythm consists of a jagged sequence of a single eighth note paired with a triple chord, also in eighth notes, allowing only one beat per measure in triple time. The chords are hammered in a style reminiscent of Bartók. From the second measure, the cello boldly develops a furious melody, unbroken by syncopation or pause. The composer's anxiety and bitterness, fueled by his revulsion at the horrors of war, are powerfully depicted. Do the silences of the piano suggest a man falling into the mud every two beats (seconds)? Beyond its vehemence, the cello part is highly virtuosic. To quote J.M. Nectoux: "ruggedness, strength, an arsenal of rhythms." Is this music disembodied and chilling? Yes, in its essence, but the pianist’s phrasing, devoid of brutality, and the cellist’s lively expression bring a note of bitterness and nostalgia that foreshadows the movement's development. The piano breaks its assaults to develop a melody more in harmony with the cello. From barbaric, the dialogue becomes more amiable, almost affectionate. Does the major key and this intimate theme hint at a glimmer of hope? The two ideas will not undergo contrapuntal development, as if tragedy and hope cannot be reconciled. The return of the opening energy confirms this refusal to blend ferocity and meditation for aesthetic purposes. Fauré upends the chamber music style in this commanding allegro. Episode by episode, the allegro leads us to a vehement and savage coda. This allegro paves the way for modernity in chamber music. Moving away from the entertainment and romanticism of Mozart, Schubert, or even a young Fauré, the genre becomes more militant. A pinnacle of this trend can be found, for example, in Shostakovich’s harrowing Quartet No. 8. Andante (G minor): In the andante, Fauré seems to seek an escape from his dark thoughts, striving for serenity. This inner serenity rarely ventures into expressionism, unlike the musical impressionism of Vaughan Williams, with its pastoral settings or glowing forest strolls. The piano introduces a delicate, high-pitched march, symbolizing the path of reflection… perhaps. The cello presents an elegiac melody, avoiding the clichés of Fauré’s famous Élégie. This andante unfolds as a gentle crescendo imbued with tranquility, never tipping into sentimentality. The playing is straightforward, even when slow and introspective. The development grows in pathos, but with restraint; the cello’s song becomes powerful, and its impassioned melody bursts with heart-wrenching accents. A restatement of the initial theme demonstrates that, even in 1916, Fauré still valued the sonata form. A reprise of the introduction leads to a poignant conclusion, a reconciliation between the instruments. Finale: Allegro (D minor): After the stark contrast of the first two movements-one rare in its aggressiveness, the other almost mystical (a highly personal sentiment, as Fauré, an agnostic, was not inclined toward prayer)-the composer offers a whimsical and serene conclusion. With a capricious temperament, the cello part sings as rarely before, exploring its full range. Incredibly virtuosic yet flowing with an effortless grace under the fingers of Paul Tortelier…. Claude Toon Other Album available // Fauré: Requiem Op. 48 in D minor by Ernest Ansermet 🎧 Qobuz cutt.ly/deCdGYGe Tidal cutt.ly/teCdGZTo 🎧 Apple Music cutt.ly/IeCdHuLS Deezer cutt.ly/MeCdHPtO 🎧 Amazon Music cutt.ly/aeCdJxVK Spotify cutt.ly/DeCdJOHC 🎧 KZbin Music cutt.ly/XeCdJCJ6

[@arlendriver4113]

First!!!!!

[@bibosm314]

La musique impressioniste ne m'impressionne pas du tout encore moins Fauré.

[@BernardSAUSSAIE]

*J'ai mis du temps à mettre Fauré à côté de Debussy et Ravel, trouvant que son chromatisme ne savait où aller. Puis, le moment est venu où j'ai été saisi par son originalité. C'est un maître dans l'art du piano et de la musique de chambre.*

[@bibosm314]

@BernardSAUSSAIE faut pas exagerer. Il n'est connu qu'en france et encore. 🤣🤣🤣

[@BernardSAUSSAIE]

@@bibosm314 *Il est apprécié partout dans le monde et particulièrement en Allemagne.*

[@elbagnador3311]

Pour ma part j'ai trouvé cette sonate magnifique. Très intrigué par le premier mouvement, et pleinement absorbé par le deuxième en particulier.