FAUR, GABRIEL (-URBAIN)

born May 12, 1845, Pamiers, Arige, Fr. died Nov. 4, 1924, Paris composer whose refined and gentle music influenced the course of modern French music. Faur's musical abilities became apparent at an early age. When the Swiss composer and teacher Louis Niedermeyer heard the boy, he immediately accepted him as a pupil. Faur studied piano with Camille Saint-Sans, who introduced him to the music of Franz Liszt and Richard Wagner. While still a student, Faur published his first composition, a work for piano, Trois romances sans paroles. In 1896 he was appointed church organist at the church of La Madeleine in Paris and professor of composition at the Paris Conservatoire. In 1905 he succeeded Thodore Dubois as director of the Conservatoire, and he remained in office until ill health and deafness forced him to resign in 1920. Among his pupils were Maurice Ravel, George Enesco, Jean Roger-Ducasse, Florent Schmitt, and Nadia Boulanger. Faur excelled not only as a songwriter of great refinement and sensitivity but also as a composer in every branch of chamber music. He wrote more than 100 songs, including Aprs un rve (c. 1865) and Les Roses d'Ispahan (1884), and song cycles that included La Bonne Chanson (189192) and L'Horizon chimrique (1922). He enriched the literature of the piano with a number of highly original and exquisitely wrought works, of which his 13 nocturnes, 13 barcaroles, and 5 impromptus are perhaps the most representative and best known. Faur's Ballade (1881) for piano and orchestra (originally solo piano), two sonatas for violin and piano, and Berceuse for violin and piano (1880) are among other popular works that use the piano. lgie for cello and piano, later arranged for orchestra, and two sonatas for cello and piano, as well as much chamber music, are frequently performed and recorded. Faur was not instinctively attracted to the theatre, but he wrote incidental music for several plays, including Maurice Maeterlinck's Pellas et Mlisande (1898), as well as two lyric dramas, Promthe (1900) and Pnlope (1913). Among his few works written for the orchestra alone is Masques et bergamasques (1919). The Messe de requiem for solo voices, chorus, orchestra, and organ (1887) did not gain immediate popularity, but it has since become one of Faur's most frequently performed works. Although he had deep respect for the traditional forms of music, Faur delighted in infusing those forms with a mlange of harmonic daring and a freshness of invention. This quiet and unspectacular revolution prepared the way for more sensational innovations by the modern French school. One of the most striking features of his style was his fondness for daring harmonic progressions and sudden modulations, invariably carried out with supreme elegance and a deceptive air of simplicity.