71:. He was 74, increasingly deaf, and nearing the end of his time as director. From Annecy he wrote to his wife, who remained in Paris, "as yet there are only sketches, so for the moment I'm not speaking of it to anyone". Fauré was a slow, painstaking composer and the quintet took months of work, although by comparison with the first quintet – on which he worked intermittently for 18 years – it was completed relatively quickly. The middle movements were finished first, during a long summer holiday at Annecy in 1920. His reluctant retirement from the Conservatoire at the end of September 1920 left him more time for composition, which he found a great benefit in completing the quintet. The finished manuscript is dated March 1921, although the Fauré scholar
17:
139:, the first of the four movements to be written. It opens with rapid scale figuration in the piano, later joined by the strings. A more lyrical theme in an arching shape follows for the strings, and the movement concludes with the two themes combined. Nichols comments that this movement is one of Faure's "most astonishing inventions, pushing tonality as far as he would ever take it and (as any pianist will testify) subverting habitual finger patterns".
1611:
1649:
127:
with shifts of key. The development section is not severely polyphonic like its predecessor in the first quintet, but calm and flowing. The opening theme makes an emphatic reappearance in its original key, and is further developed, with a passage in octaves for the first violin. After a last appearance of the second theme the movement ends with a coda in C major.
1637:
218:, those who know his work best would agree on the second Piano Quintet (1921). In it is embodied a pure well of spirituality, a humanizing force such as is found in only the greatest masters. … The entire composition is extremely classic, that is to say, it is as far removed as possible from the romantic temperament. In profundity it recalls
207:, called it a masterpiece and wrote of "A deep and magnificent serenity of a great poet, wise and lyrical. ... There is not in this second quintet the slightest trace of externality, the slightest sound effect, the slightest concession, even unconscious, to fashions and ways. There is nothing but pure music, stripped of artifice". In 1924
160:
in its string introduction". After the expressive first theme, the piano enters and introduces a second theme, with the strings accompanied by off-beat piano chords. The strings return to the first theme in the development section and the second theme returns. The movement concludes in its original G
195:
This new work, of an enchanting freshness of ideas, produced an unparalleled effect. ... The andante is of a sculptural beauty and the scherzo of incomparable and constant youthfulness. Of all the chamber music of our brilliant colleague and friend, this 2nd
Quintet will certainly remain as one of
169:
As in the first movement, the viola introduces the first theme, an arching melody against syncopated octaves on the piano that has something in common with the opening theme of the first movement. A second theme is given to piano and viola, and after the return of the first theme, a third emerges.
126:
puts it, "no longer ethereal, but earthy and urgent". Over the arpeggios the strings enter one by one, as in the first quintet, led here by the viola with the principal theme of the first movement. The first violin then introduces a more rhythmically marked figure. The two themes are interwoven,
203:
described the quintet as "a work of incomparable nobility". and said that the score profoundly honoured French art and gave young artists hope for the future. Another leading critic,
1669:
1213:
1170:
854:
1231:
1674:
1166:
1133:
1091:
1069:
1050:
1289:
86:
in the concert hall of the
Conservatoire on 21 May 1921 by what Orledge calls "a distinguished group of devoted Faureans". The players were
1478:
1505:
1529:
83:
44:
794:
777:
1679:
148:
110:. There are four movements. The playing time is generally between 30 and 35 minutes. (See timings in Recordings section, below.)
1453:
1101:
123:
147:
The analyst
Michael Struck-Schloen describes the slow movement as "a grand two-part song with a coda builds a bridge between
1398:
1392:
1369:
1347:
1341:
1206:
161:
major, after what
Nichols calls "playful … intimations of a final cadence some twenty-five bars before it finally arrives".
48:
1410:
1404:
1321:
1627:
1383:
1537:
1577:
1315:
1185:
1181:
543:
1614:
1595:
1428:
1199:
1038:
588:
1521:
1470:
1297:
441:
1362:
1641:
1561:
487:
1422:
1376:
1545:
1513:
1354:
1079:
200:
68:
519:
156:
1569:
1486:
1281:
230:
744:
237:. The published score is dedicated to Fauré's friend and Parisian near neighbour, the composer
1273:
1148:
1129:
1109:
1087:
1065:
1046:
1026:
1001:
986:
971:
956:
941:
926:
911:
896:
881:
866:
413:
95:
1446:
1222:
491:
313:
234:
24:
338:
204:
60:
16:
1246:
515:
1553:
1254:
1121:
437:
409:
281:
152:
107:
72:
47:
on 21 May 1921. It was an immediate success and has always been more popular than the
1663:
1653:
363:
285:
208:
91:
87:
36:
309:
32:
1175:
1113:
795:"La Semaine musicale: Un chef d'œuvre de Gabriel Fauré à la Société Nationale"
238:
219:
40:
1152:
1030:
184:
119:
1005:
990:
960:
945:
930:
915:
900:
870:
975:
885:
250:
136:
820:
253:(February 2021), are shown in order of length of total playing time.
182:
The work was a success from its premiere onwards. The music critic of
223:
171:
64:
43:, the quintet was given its premiere in Paris at a concert of the
15:
1191:
76:
1195:
118:
As in the first quintet, the opening is characterised by piano
67:, during his summer holiday from his duties as Director of the
59:
Fauré began working on his Second Piano
Quintet in 1919 at
20:
Fauré in 1922, the year after the premiere of the quintet
39:
and his last four-movement chamber work. Dedicated to
1625:
122:, but now in the bass register: as the Fauré scholar
90:(piano), André Tourret and Victor Gentil (violins),
1588:
1497:
1462:
1438:
1334:
1308:
1265:
1238:
587:Copland wrote this before Fauré's final work, the
1177:Gabriel Fauré - Quintette avec piano n° 2 op.115
174:-style, and then combine before a C major coda.
1045:. Farnham, Kent, and Burlington, Vt: Ashgate.
857:, Internet Archive. Retrieved 28 February 2021
855:"Quintet No. 2 For Piano And Strings, Op. 115"
214:I suppose, if one were forced to name Faure's
1207:
233:published the score and also a reduction for
8:
823:, The Musical Quarterly October 1924, p. 584
82:The work was premiered at a concert of the
75:suggests that it was probably completed in
1214:
1200:
1192:
255:
106:The work is scored for piano and standard
1171:International Music Score Library Project
1086:. Cambridge: Cambridge University Press.
35:. 115, is the second of his two works in
1043:Gabriel Fauré: The Songs and Their Poets
1632:
604:
580:
135:The Allegro vivo second movement is a
730:
728:
726:
716:
714:
704:
702:
700:
698:
696:
694:
692:
192:and the loud cheers of the audience:
7:
673:
671:
249:The following recordings, listed in
821:"Gabriel Fauré, a Neglected Master"
51:, completed sixteen years earlier.
638:Nectoux, p. 425; and Jones, p. 189
14:
1479:Messe des pêcheurs de Villerville
1188:(piano) and the Quatuor de l'ORTF
1647:
1635:
1610:
1609:
1143:Struck-Schloen, Michael (1997).
1062:Gabriel Fauré: A Life in Letters
149:Beethoven's late string quartets
1108:. Colchester: Chandos Records.
1675:Compositions for piano quintet
1670:Chamber music by Gabriel Fauré
591:, was premiered and published.
170:The three elements interplay,
1:
1318: (1878–1879; unfinished)
1084:Gabriel Fauré: A Musical Life
763:in "Musiques d'Aujourd'hui",
620:Nectoux, pp. 509–510, and 616
570:Notes, references and sources
387:Schubert Ensemble of London
84:Société nationale de musique
45:Société nationale de musique
1167:Piano Quintet No. 2 (Fauré)
1696:
1186:Germaine Thyssens-Valentin
1147:. Georgsmarienhütte: CPO.
1023:Notes to Naxos CD 8.570938
546:and the Quatuor de l'ORTF
544:Germaine Thyssens-Valentin
1605:
1530:Cinq mélodies "de Venise"
1229:
1145:Notes to CPO CD 999 357-2
1106:Notes to Chandos CD 10576
1060:Jones, J. Barrie (1989).
836:, 1 December 1922, p. 857
767:, 1 February 1924, p. 144
275:
272:
269:
266:
263:
260:
258:
1064:. London: B T Batsford.
1021:Anderson, Keith (2009).
465:Quintetto Fauré di Roma
29:Piano Quintet in C minor
1680:Compositions in C minor
1471:Cantique de Jean Racine
1298:Masques et bergamasques
784:, 2 December 1921, p. 5
1596:Emmanuel Fauré-Fremiet
21:
1506:Trois mélodies, Op. 7
1128:. London: Eulenberg.
720:Struck-Schloen, p. 11
488:Jean-Philippe Collard
19:
1578:L'horizon chimérique
1290:Pelléas et Mélisande
1232:List of compositions
1080:Nectoux, Jean-Michel
1025:. Hong Kong: Naxos.
778:"L'édition musicale"
79:the previous month.
1546:le plus doux chemin
1417:Piano Quintet No. 2
1399:Violin Sonata No. 2
1393:Piano Quintet No. 1
1370:Piano Quartet No. 2
1348:Piano Quartet No. 1
1342:Violin Sonata No. 1
801:, 31 May 1921, p. 2
776:Vuillermoz, Émile.
751:, 23 May 1921, p. 5
362:Peter Orth and the
143:3. Andante moderato
114:1. Allegro moderato
69:Paris Conservatoire
1439:Piano solo and duo
1411:Cello Sonata No. 2
1405:Cello Sonata No. 1
793:Vuillemin, Louis.
178:Critical reception
22:
1623:
1622:
1135:978-0-903873-40-6
1093:978-0-521-23524-2
1071:978-0-7134-5468-0
1052:978-0-7546-5960-0
834:The Musical Times
765:The Musical Times
567:
566:
414:Fine Arts Quartet
196:the most sublime.
190:"l'énorme succès"
1687:
1652:
1651:
1650:
1640:
1639:
1638:
1631:
1613:
1612:
1589:Related articles
1562:La chanson d'Ève
1538:la bonne chanson
1216:
1209:
1202:
1193:
1178:
1169:: Scores at the
1156:
1139:
1117:
1097:
1075:
1056:
1034:
1008:
999:
993:
984:
978:
969:
963:
954:
948:
939:
933:
924:
918:
909:
903:
894:
888:
879:
873:
864:
858:
852:
846:
843:
837:
832:"String Music",
830:
824:
819:Copland, Aaron.
817:
811:
808:
802:
791:
785:
774:
768:
758:
752:
741:
735:
732:
721:
718:
709:
706:
687:
684:
678:
675:
666:
663:
657:
654:
648:
645:
639:
636:
630:
627:
621:
618:
612:
609:
592:
585:
492:Parrenin Quartet
314:Via Nova Quartet
256:
201:Émile Vuillermoz
165:4. Allegro molto
1695:
1694:
1690:
1689:
1688:
1686:
1685:
1684:
1660:
1659:
1658:
1648:
1646:
1642:classical music
1636:
1634:
1626:
1624:
1619:
1601:
1584:
1565: (1906–10)
1541: (1892–94)
1509: (1870–78)
1493:
1490: (1887–90)
1474: (1864–65)
1458:
1450: (1895–97)
1434:
1431: (1923–24)
1372: (1885–86)
1350: (1876–79)
1330:
1316:Violin Concerto
1304:
1261:
1234:
1225:
1220:
1184:, performed by
1176:
1163:
1142:
1136:
1122:Orledge, Robert
1120:
1100:
1094:
1078:
1072:
1059:
1053:
1039:Johnson, Graham
1037:
1020:
1017:
1012:
1011:
1000:
996:
985:
981:
970:
966:
955:
951:
940:
936:
925:
921:
910:
906:
895:
891:
880:
876:
865:
861:
853:
849:
845:Johnson, p. 358
844:
840:
831:
827:
818:
814:
809:
805:
792:
788:
775:
771:
759:
755:
742:
738:
733:
724:
719:
712:
707:
690:
686:Orledge, p. 178
685:
681:
676:
669:
665:Nectoux, p. 557
664:
660:
656:Orledge, p. 182
655:
651:
647:Orledge, p. 178
646:
642:
637:
633:
629:Nectoux, p. 522
628:
624:
619:
615:
610:
606:
601:
596:
595:
586:
582:
577:
572:
339:Anthony Marwood
247:
227:
205:Louis Vuillemin
197:
180:
167:
145:
133:
131:2. Allegro vivo
116:
104:
61:Annecy-le-Vieux
57:
12:
11:
5:
1693:
1691:
1683:
1682:
1677:
1672:
1662:
1661:
1657:
1656:
1644:
1621:
1620:
1618:
1617:
1606:
1603:
1602:
1600:
1599:
1592:
1590:
1586:
1585:
1583:
1582:
1574:
1566:
1558:
1554:Le jardin clos
1550:
1542:
1534:
1526:
1518:
1510:
1501:
1499:
1495:
1494:
1492:
1491:
1483:
1475:
1466:
1464:
1460:
1459:
1457:
1456:
1451:
1442:
1440:
1436:
1435:
1433:
1432:
1429:String Quartet
1426:
1420:
1414:
1408:
1402:
1396:
1390:
1381:
1373:
1367:
1359:
1351:
1345:
1338:
1336:
1332:
1331:
1329:
1328:
1319:
1312:
1310:
1306:
1305:
1303:
1302:
1294:
1286:
1278:
1269:
1267:
1263:
1262:
1260:
1259:
1251:
1242:
1240:
1236:
1235:
1230:
1227:
1226:
1221:
1219:
1218:
1211:
1204:
1196:
1190:
1189:
1173:
1162:
1161:External links
1159:
1158:
1157:
1140:
1134:
1118:
1102:Nichols, Roger
1098:
1092:
1076:
1070:
1057:
1051:
1035:
1016:
1013:
1010:
1009:
994:
979:
964:
949:
934:
919:
904:
889:
874:
859:
847:
838:
825:
812:
803:
786:
769:
753:
745:"Les concerts"
736:
722:
710:
708:Anderson, p. 3
688:
679:
667:
658:
649:
640:
631:
622:
613:
603:
602:
600:
597:
594:
593:
589:String Quartet
579:
578:
576:
573:
571:
568:
565:
564:
562:
559:
556:
553:
550:
547:
540:
539:
537:
534:
531:
528:
525:
522:
512:
511:
509:
506:
503:
500:
497:
494:
484:
483:
481:
478:
475:
472:
469:
466:
462:
461:
459:
456:
453:
450:
447:
444:
434:
433:
431:
428:
425:
422:
419:
416:
410:Cristina Ortiz
406:
405:
403:
400:
397:
394:
391:
388:
384:
383:
381:
378:
375:
372:
369:
366:
359:
358:
356:
353:
350:
347:
344:
341:
334:
333:
331:
328:
325:
322:
319:
316:
306:
305:
303:
300:
297:
294:
291:
288:
286:Guilet Quartet
282:Gaby Casadesus
278:
277:
274:
271:
268:
265:
262:
259:
246:
243:
231:Durand et fils
213:
194:
179:
176:
166:
163:
144:
141:
132:
129:
115:
112:
108:string quartet
103:
100:
96:Gérard Hekking
73:Robert Orledge
56:
53:
13:
10:
9:
6:
4:
3:
2:
1692:
1681:
1678:
1676:
1673:
1671:
1668:
1667:
1665:
1655:
1645:
1643:
1633:
1629:
1616:
1608:
1607:
1604:
1597:
1594:
1593:
1591:
1587:
1580:
1579:
1575:
1572:
1571:
1567:
1564:
1563:
1559:
1556:
1555:
1551:
1548:
1547:
1543:
1540:
1539:
1535:
1532:
1531:
1527:
1524:
1523:
1522:Clair de lune
1519:
1516:
1515:
1511:
1508:
1507:
1503:
1502:
1500:
1496:
1489:
1488:
1484:
1481:
1480:
1476:
1473:
1472:
1468:
1467:
1465:
1461:
1455:
1452:
1449:
1448:
1444:
1443:
1441:
1437:
1430:
1427:
1424:
1421:
1418:
1415:
1412:
1409:
1406:
1403:
1400:
1397:
1394:
1391:
1388:
1386:
1382:
1379:
1378:
1374:
1371:
1368:
1365:
1364:
1360:
1357:
1356:
1352:
1349:
1346:
1343:
1340:
1339:
1337:
1333:
1326:
1324:
1320:
1317:
1314:
1313:
1311:
1307:
1300:
1299:
1295:
1292:
1291:
1287:
1284:
1283:
1279:
1276:
1275:
1271:
1270:
1268:
1264:
1257:
1256:
1252:
1249:
1248:
1244:
1243:
1241:
1237:
1233:
1228:
1224:
1223:Gabriel Fauré
1217:
1212:
1210:
1205:
1203:
1198:
1197:
1194:
1187:
1183:
1179:
1174:
1172:
1168:
1165:
1164:
1160:
1154:
1150:
1146:
1141:
1137:
1131:
1127:
1126:Gabriel Fauré
1123:
1119:
1115:
1111:
1107:
1103:
1099:
1095:
1089:
1085:
1081:
1077:
1073:
1067:
1063:
1058:
1054:
1048:
1044:
1040:
1036:
1032:
1028:
1024:
1019:
1018:
1014:
1007:
1003:
998:
995:
992:
988:
983:
980:
977:
973:
968:
965:
962:
958:
953:
950:
947:
943:
938:
935:
932:
928:
923:
920:
917:
913:
908:
905:
902:
898:
893:
890:
887:
883:
878:
875:
872:
868:
863:
860:
856:
851:
848:
842:
839:
835:
829:
826:
822:
816:
813:
810:Jones, p. 192
807:
804:
800:
796:
790:
787:
783:
779:
773:
770:
766:
762:
757:
754:
750:
746:
740:
737:
734:Nichols, p. 6
731:
729:
727:
723:
717:
715:
711:
705:
703:
701:
699:
697:
695:
693:
689:
683:
680:
677:Nichols, p. 5
674:
672:
668:
662:
659:
653:
650:
644:
641:
635:
632:
626:
623:
617:
614:
611:Jones, p. 184
608:
605:
598:
590:
584:
581:
574:
569:
563:
560:
557:
554:
551:
548:
545:
542:
541:
538:
535:
532:
529:
526:
523:
521:
520:Ébène Quartet
517:
514:
513:
510:
507:
504:
501:
498:
495:
493:
489:
486:
485:
482:
479:
476:
473:
470:
467:
464:
463:
460:
457:
454:
451:
448:
445:
443:
442:Ysaÿe Quartet
439:
436:
435:
432:
429:
426:
423:
420:
417:
415:
411:
408:
407:
404:
401:
398:
395:
392:
389:
386:
385:
382:
379:
376:
373:
370:
367:
365:
364:Auryn Quartet
361:
360:
357:
354:
351:
348:
345:
342:
340:
336:
335:
332:
329:
326:
323:
320:
317:
315:
311:
308:
307:
304:
301:
298:
295:
292:
289:
287:
283:
280:
279:
257:
254:
252:
244:
242:
240:
236:
232:
225:
221:
217:
212:
210:
209:Aaron Copland
206:
202:
193:
191:
187:
186:
177:
175:
173:
164:
162:
159:
158:
154:
150:
142:
140:
138:
130:
128:
125:
124:Roger Nichols
121:
113:
111:
109:
101:
99:
97:
93:
92:Maurice Vieux
89:
88:Robert Lortat
85:
80:
78:
74:
70:
66:
62:
54:
52:
50:
49:First Quintet
46:
42:
38:
34:
30:
26:
25:Gabriel Fauré
18:
1581: (1921)
1576:
1573: (1919)
1568:
1560:
1557: (1914)
1552:
1549: (1904)
1544:
1536:
1533: (1891)
1528:
1525: (1887)
1520:
1517: (1883)
1512:
1504:
1485:
1482: (1881)
1477:
1469:
1445:
1425: (1923)
1419: (1921)
1416:
1413: (1921)
1407: (1917)
1401: (1916)
1395: (1906)
1389: (1898)
1384:
1380: (1898)
1375:
1366: (1883)
1361:
1358: (1879)
1353:
1344: (1875)
1327: (1918)
1322:
1296:
1293: (1898)
1288:
1285: (1890)
1280:
1277: (1887)
1272:
1258: (1913)
1253:
1250: (1900)
1245:
1144:
1125:
1105:
1083:
1061:
1042:
1022:
997:
982:
967:
952:
937:
922:
907:
892:
877:
862:
850:
841:
833:
828:
815:
806:
798:
789:
781:
772:
764:
760:
756:
748:
739:
682:
661:
652:
643:
634:
625:
616:
607:
583:
516:Éric Le Sage
248:
228:
222:, in grace,
216:chef d'œuvre
215:
198:
189:
183:
181:
168:
155:
146:
134:
117:
105:
94:(viola) and
81:
58:
28:
23:
1598: (son)
1454:Piano music
1309:Concertante
799:La Lanterne
438:Pascal Rogé
310:Jean Hubeau
199:The critic
1664:Categories
1423:Piano Trio
1377:Sicilienne
1266:Orchestral
1114:1135154119
599:References
337:Domus and
245:Recordings
239:Paul Dukas
235:piano duet
55:Background
41:Paul Dukas
1385:Fantaisie
1325:, Op. 111
1323:Fantaisie
1247:Prométhée
1153:255775505
1031:432311393
1006:746035367
991:843197249
961:718594842
946:173196526
931:432311393
916:717803908
901:255775505
871:222178928
749:Le Figaro
188:wrote of
185:Le Figaro
120:arpeggios
102:Structure
98:(cello).
37:the genre
1615:Category
1514:Madrigal
1387:, Op. 79
1355:Berceuse
1255:Pénélope
1124:(1979).
1104:(2010).
1082:(1991).
1041:(2009).
976:56197164
886:55050184
782:Le Temps
743:"A. B."
518:and the
490:and the
440:and the
412:and the
312:and the
284:and the
270:4th mvt
267:3rd mvt
264:2nd mvt
261:1st mvt
251:WorldCat
229:In 1922
153:Wagner's
1628:Portals
1570:Mirages
1487:Requiem
1335:Chamber
1282:Shylock
1182:YouTube
1015:Sources
211:wrote:
157:Tristan
137:scherzo
1654:France
1463:Choral
1363:Élégie
1301:(1919)
1274:Pavane
1151:
1132:
1112:
1090:
1068:
1049:
1029:
1004:
989:
974:
959:
944:
929:
914:
899:
884:
869:
761:Quoted
561:34:39
555:12:57
549:11:35
536:34:20
530:12:38
524:11:29
508:34:22
502:11:51
496:11:34
480:33:11
474:11:25
468:11:10
458:32:54
452:11:36
446:11:10
430:32:17
424:10:16
418:10:59
402:31:57
396:11:13
390:10:04
380:31:45
374:11:05
368:10:52
355:31:30
349:10:57
343:10:03
330:31:23
324:10:55
318:10:38
302:30:00
290:11:06
273:Total
224:Mozart
1498:Songs
1447:Dolly
1239:Opera
575:Notes
558:6:19
552:3:58
533:6:10
527:4:03
505:6:38
499:4:19
477:6:12
471:4:24
455:6:03
449:4:05
427:6:24
421:4:30
399:6:07
393:4:11
377:5:50
371:3:58
352:6:06
346:4:04
327:5:56
321:3:54
299:5:50
296:9:09
293:3:55
172:rondo
65:Savoy
1149:OCLC
1130:ISBN
1110:OCLC
1088:ISBN
1066:ISBN
1047:ISBN
1027:OCLC
1002:OCLC
987:OCLC
972:OCLC
957:OCLC
942:OCLC
927:OCLC
912:OCLC
897:OCLC
882:OCLC
867:OCLC
276:Ref
220:Bach
151:and
77:Nice
1180:on
63:in
27:'s
1666::
797:,
780:,
747:,
725:^
713:^
691:^
670:^
241:.
33:Op
31:,
1630::
1215:e
1208:t
1201:v
1155:.
1138:.
1116:.
1096:.
1074:.
1055:.
1033:.
226:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
