1
Nocturne for Piano No. 1 in E Flat minor, Op. 33/1
2
Nocturne for Piano No. 2 in B Major, Op. 33/2
3
Nocturne for Piano No. 3 in a Flat Major, Op.33/3
4
Nocturne for Piano No. 4 in E Major, Op. 36
5
Nocturne for Piano No. 5 in B Flat Major, Op. 37
6
Nocturne for Piano No. 6 in D Flat Major, Op. 63
7
Nocturne for Piano No. 7 in C Sharp minor, Op. 74
8
Nocturne for Piano No. 8 in D Flat Major (Also in Huit Pièces Brèves), Op. 84/8
9
Nocturne for Piano No. 9 in B minor, Op. 97
10
Nocturne for Piano No. 10 in B minor, Op. 99
11
Nocturne for Piano No. 11 in F Sharp minor, Op. 104/1
12
Barcarolle for Piano No. 1 in A minor, Op. 26
13
Barcarolle for Piano No. 2 in G Major, Op. 41
14
Barcarolle for Piano No. 3 in G Flat Major, Op. 42
15
Barcarolle for Piano No. 4 in a Flat Major, Op. 44
16
Barcarolle for Piano No. 5 in F Sharp minor, Op. 66
17
Barcarolle for Piano No. 6 in E Flat Major, Op. 70
18
Barcarolle for Piano No. 7 in D minor, Op. 90
19
Barcarolle for Piano No. 8 in D Flat Major, Op. 96
20
Barcarolle for Piano No. 9 in A minor, Op. 101
21
Barcarolle for Piano No. 10 in A minor, Op. 104/2
22
Barcarolle for Piano No. 11 in G minor, Op. 105
23
Barcarolle for Piano No. 12 in E Flat Major, Op.106Bis
24
Barcarolle for Piano No. 13 in C Major, Op. 116
25
Impromptu for Piano No. 1 in E Flat Major, Op. 25
26
Impromptu for Piano No. 2 in F minor, Op. 31
27
Impromptu for Piano No. 3 in a Flat Major, Op. 34
28
Impromptu for Piano No. 4 in D Flat Major, Op. 91
29
Impromptu for Piano No. 5 in F Sharp minor, Op. 102
30
Valse-Caprice for Piano No. 1 in a Major, Op. 30
31
Valse-Caprice for Piano No. 2 in D Flat Major, Op. 38
32
Valse-Caprice for Piano No. 3 in G Flat Major, Op. 59
33
Valse-Caprice for Piano No. 4 in a Flat Major, Op. 62
34
Pièces Brèves (8), for Piano, Op. 84: Capriccio in E Flat
35
Pièces Brèves (8), for Piano, Op. 84: Fantasie in a Flat
36
Pièces Brèves (8), for Piano, Op. 84: Fugue in A minor
37
Pièces Brèves (8), for Piano, Op. 84: Adagietto in E minor
38
Pièces Brèves (8), for Piano, Op. 84: Improvisation in C Sharp minor
39
Pièces Brèves (8), for Piano, Op. 84: Fugue in E minor
40
Pièces Brèves (8), for Piano, Op. 84: Allégresse in C
41
Pièces Brèves (8), for Piano, Op. 84: Nocturne in D Flat
42
Mazurka for Piano in B Flat Major, Op. 32
43
Romances Sans Paroles (3) for Piano, Op. 17: No. 1 in a Flat
44
Romances Sans Paroles (3) for Piano, Op. 17: No. 2 in A minor
45
Romances Sans Paroles (3) for Piano, Op. 17: No. 3 in a Flat
46
Dolly, Suite for Piano, 4 Hands or Orchestra, Op. 56: Berceuse
47
Dolly, Suite for Piano, 4 Hands or Orchestra, Op. 56: Mi-A-Ou
48
Dolly, Suite for Piano, 4 Hands or Orchestra, Op. 56: Le Jardin de Dolly
49
Dolly, Suite for Piano, 4 Hands or Orchestra, Op. 56: Kitty-Valse
50
Dolly, Suite for Piano, 4 Hands or Orchestra, Op. 56: Tendresse
51
Dolly, Suite for Piano, 4 Hands or Orchestra, Op. 56: Le Pas Espagnol
52
Souvenirs de Bayreuth, for Piano, 4 Hands ('Fantaisie en Forme de Quadrille... de R. Wagner')
Item UPC: 842977040357
Date First Available:
Label: BRLT
ABOUT THE ALBUM
Fauré's compositional style can be divided into four periods. The earliest is the romantic style, particularly noticeable in the works from the 1870s where the spirit of Chopin hovers over the early Nocturnes. Next are the works dating from the 1880s when he became close to poets such as Verlaine. The music from these years is dreamy, languid and tortuously melodious. The third style from the 1890s is bold and assertive, and the many of the great piano works date from this period. The final style is confident, when Fauré felt able to pursue a solitary course, with a string of remarkable works including the late Nocturnes and the 5th Impromptu. The music is sparse in texture, but rich in expressive dissonances. Jean-Philippe Collard is one of the great exponents of this repertoire. Collard, confirming the impression made by his other records, proves an excellent choice, equal to all this music's technical demands, as his refined control of the frequently shifting textures of the Op. 33 set (Nos. 1-3) shows. His identification with Faure's musical thought also appears to be complete, and this is the major point, because a long journey is travelled between Nocturne No. 1 of 1883 and No. 13, which was published in 1922.
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