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EDWARD R. PHILLIPS
The art song occupied Gabriel Faur6 throughout his career more
consistently than any other genre. In the period between 1861 (the year of
composition of 'Le Papillon et la fleur', Op. 1, No. 1) and 1898, only ten
years saw no music for voice and piano. And, while after 1900 song
composition occupied Faur6 less, the genre is nonetheless represented
among his most mature works: the two last song cycles, Mirages (Op. 113)
and L'Horizon chimerique (Op. 118), were composed in 1919 and 1921
respectively.' That the genre of art song so pervades Faur6's compositional
output makes it the logical starting point for an examination of the
development of his harmonic language and, further, for a search for an
explanation of the stylistic changes that marked the so-called 'third period'
of his compositional career.
If 'Le Papillon et la fleur', written when Faur6 was but sixteen, were the
only piece of his that was well-known, it might justify the reputation Faur6
has undeservedly had as a composer of salon music. In the lightness of its
subject and its dance rhythm, it seems even to anticipate the so-called
'genteel tradition' of the 1890's music-hall stage. Within the larger context
of more than 100 songs of various moods and complexities, it can be seen
for what it is: a charming miniature whose airiness reflects both the mood
of Victor Hugo's poem and Faur6's sense of humour. Whatever the
aesthetic evaluation of the piece, it is evident that subtle surface chroma-
ticism and underlying complexity of structure are both foreign to it. What
chromaticism is present is easily heard as decorative and obscures nothing
of the harmony. For example, motivic use is made of the raised second
scale degree as chromatic passing note to intensify the voice leading from
second to third scale degree over a dominant-to-tonic progression.2
Chromatic usage in other early songs often presents a more richly
Romantic surface; but, again, the chromaticism is easily understood as an
ornamentation of the basic tonal structure. Consider bs 4-6 and 30-4 of
'Au bord de l'eau' (Op. 8, No. 1), composed in August 1876.3 In each o
these passages the prolongational device is the decorated descent of a fifth
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EDWARD R. PHILLIPS
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TONAL CONTRADICTION IN FAURE
S'asseoir tous deux au bord du flot qui pas - se, Le voir pas- ser,
Andante quasi allegretto
Lr L
6 5 6 5 6 5
I- -V
b) bs 29-34
A V 2
7 x5 10 x5 10 6 5
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EDWARD R. PHILLIPS
Ex. 2 'Lydia'
Andante -P_ I F I I IL I
Ly-di- a su
Andante
sempre dolce
arp.
I Iv] III
0 00
Iv (V)
I IV I 7 (IV) I
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TONAL CONTRADICTION IN FAURIE
67 64
r63
I IV V
relationship
made explici
In this song, as in 'Lydia', the arrival of the main melodic note is
occasion for a surface clouding of the underlying reality, again involving
the dominant relationship. In bs 6 and 7 (Ex. 5), the fifth scale degree is
achieved over a middleground motion to the dominant. Yet the foreground
suggests most strongly a move towards the mediant, G minor. Several
details conspire to create this illusion. The Bb% in the bass in b.6 is
undermined as root of the dominant by the g' in the upper voice, left over
from the tonic harmony that should have closed the previous structural
unit. Consonant support for the raised fourth degree, the a?' (which is
normally a very strong and audible clue that the main melodic note is
indeed the fifth scale degree), together with the syncopation of the primary
note, bb', over the barline, the prominence given to the lower neighbour,
f#', in b.7 and the movement to D in the bass, causes bb' to be heard as a
suspension (which never resolves) as if it originated as an upper neighbour
to the an'. Only with the repetition of the gesture upwards through raised 4
to 5 over V7 (bs 7-8) does the middleground structure become clear.
However, this moment of clarity is short-lived, as the next five bars
(8-12) obscure their role as prolongation of V by a surfeit of counterfeit
dominants. In terms of Roman numerals, the surface progression following
the brief V6 in b.8 continues with a diminished-seventh chord serving as V
of V of V, to V of V, by rising chromatic motion to another diminished
seventh serving as V of III, to an E? dominant seventh (by root movement,
VI of III; by structure, V of IV), to a Db triad in bs 10 and 11 which may
be heard as IV of IV, and finally to V6 in b.12. This entire convoluted
foreground structure prolongs the dominant harmony, as the analytical
graph in Ex. 5 shows, but it does not do so from within the dominant
harmony - that is, there is nothing in the surface structure (at least, after
the V of V) which is consistent with progression in the key of the
dominant. Motion from chord to chord may seem logical, but there is no
overarching tonal logic to these elements of progression as they are
perceived on the surface of the music. It is the rising bass line that prevents
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EDWARD R. PHILLIPS
0 0 ? ?
A
ri6 6 6 4 () 6 6 57 07
5 4(6,
(2) 5
r *r
2
the suspensions and accented chromatic passing notes from creating total
tonal disorientation in these few bars by suggesting in its conjunct motion
that the harmonic relationships of the foreground are not real, that they are
subservient to some more linear prolongational event. This is indeed the
case: the bass line outlines a dominant seventh (stemmed bass notes in the
graph).5 The opening gesture of this section, in b.6, where the relative impor-
tance of a?' and bb' is reversed, recalls the mirror metaphor of my title; and
the subsequent bars of false harmonic motion represent the first stage of
what I shall call Faur6's prismatic writing, in which the underlying struc-
ture is refracted and distorted by tonal relationships at the foreground level.
The sense of tonal disorientation continues as the cadence to I expected
after the dominant of b. 12 is evaded by a brief but complex prolongation.
The first hint of complexity lies in the treatment of the pitches D and C in
b. 13 (see Ex. 6); d2 is the leading note of the dominant in b. 12 transferred
up an octave by a reaching over, suspended into b.13 over G in the bass
and resolving in the upper voice of the piano to eV2. At the same time, by
means of the same mirror technique as that used in b.6, c2 is treated as a
principal note in the melody (and in the piano left hand) and d2 as upper
neighbour. Explaining this apparent conflict in function requires an
understanding of the elliptical nature of the progression in bs 13-16.6
Example 6a shows the structure of the passage without Faure's ellipsis.
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TONAL CONTRADICTION IN FAURE
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EDWARD R. PHILLIPS
I. , . E r. t/ I
o (? o) o
, t
rb)
I dI
? ? 1
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TONAL CONTRADICTION IN FAURIP
ga - zons roux
,inf cresc.
It.
f espressivo
. I j h I~ . _I
.J .................w Wv
Et quand, so- len - nel, le soir Des ch - nes noirs tom - be-
aim"
A 1--l- -0do
Reproduced by kind permission of A. Leduc & Cie.
? ? 22
65 _ (43)
--6VI [V] V
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EDWARD R. PHILLIPS
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TONAL CONTRADICTION IN FAURIE
validity, in the sense that the song's surface does conceal much of its
underlying structure; it is a natural consequence of this that the tonal
security of an unequivocal tonic is not evident until the end of the piece.
However, what Orledge misses is that it is not the lack of a frank tonic
harmony which makes the song's organization elusive but rather the
manipulation of the basic tonal relationship between dominant and tonic.
Such manipulation is present over both small and large spans of the
music of 'Exaucement'. The underlying progression of bs 7 and 8 (see
Ex. 8) is V of V to V to I; the motion from the secondary dominant to the
dominant is confounded by the bass's anticipation of g under the D
dominant seventh and by the persistence of f#', the secondary leading note,
into the V harmony. This f#' undermines V as a goal of its own dominant
as well as its effectiveness as dominant to the C triad that follows. The
tonal centre of this progression is 'softened', as Orledge would have it,
prismatic distortion of the voice leading which is much like that alr
examined at the recapitulation of 'En Sourdine' and which Faure uses
much greater scale later in the present piece.
Ex. 8 'Exaucement', bs 7-8
poco crescendo
poco crescendo
Iv] v I
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EDWARD R. PHILLIPS
Rk-n
3- 1
r ____
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TONAL CONTRADICTION IN FAURE-
a) bs. 4-11 ?
4 4 4
b) bs. 30-45
A A A
4 3 2
The dominant-tonic d
large spans have been a
the structural levels at
nique being used in an
constitute a prolongat
Ex. 11 charts the comp
of the two unfoldings c
in b.16, to that in b.2
between c2 and g'. This
second of which is its
resolves on the final (implied) g' in b.21 (see Ex. 1 la). As various
contrapuntal events (many of them chromatic) are themselves harmonized
and made consonant (and occasionally disguised enharmonically), the
foreground lends itself to readings at odds with the underlying,
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EDWARD R. PHILLIPS
a) -
a'1l
Tr- 0- 7o l
TT
C)
z f - : --w
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TONAL CONTRADICTION IN FAURIE
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EDWARD R. PHILLIPS
4-22 4-26 4-14 4-20 4-26 4-20 4-26 4-20 4-20 4-26 4-26 4-20 4-20 4-27 3-12 4-23 3-1 1
r, 422 .,, -
[Iv] [v4] V
4-20 [101220]
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TONAL CONTRADICTION IN FAUREI
4-27 3.11 3-12 4-27'3-11 3-12 4-27 3-11 3-12 4-27 4-20 4-14 4-27 3-11 3-12 4-27 3-11 3-12 4-27 3-11 4-14
Jr-V
6 6 6 6 6 6 6 6 6 10 10 0 10 10 10 0 10 7
mV
in dealing with details in Schenkerian terms, but it is also alive with sets,
some in mini-sequences and others as the simple repetition of sonorities
with invariant dyads (see the brackets on Ex. 14). (Indeed Faur6 succeeds
in maintaining essentially this small vocabulary of sets with very few
changes in pitch - that is, with many common notes in the voice leading.)'4
I 4 2 I . / -
4-27 4-20 4-20 4-27 4-26 4-26 4-20 4-27 4-26 4-20 4-27 4-26
[ .i..,, . .. ..
4-27 4-26 4-26 4-27 4-26 4-26 4-27 4-26 4-20 4-27 4-23 4-22 4-23 4-26 4-27
v-- -i
V
"
13- --A
iN
This integr
'Diane, S6l6n
texture and so distorted the voice leading that the underlying tonal
structure, complete with peculiar background close," is very well disguised.
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EDWARD R. PHILLIPS
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TONAL CONTRADICTION IN FAURIE
NOTES
2. Simple though this embellishment may be, that it is the dominant harmo
which is so treated is an indication of things to come in Faure's harmonic
language.
3. The date of composition for this song has been given very precisely by th
major biographers of Faur6 (Nectoux 1980: 425, 1980a: 30 [1984: 29], 1990:
529 [1991: 532]; Orledge 1979: 281) as 'August 1875'. This dating is
consistent with one manuscript source (Bibliotheque Nationale MS 20293,
donated in 1985) containing a sketch of this song (in D minor) surrounded by
sketches for the first and second movements of the Sonata for violin and piano
No. 1, Op. 13, composed in 1875-6. However, the autograph source for the
completed song (Bibliotheque Nationale MS 20291, donated in 1985) is
signed and dated on the title page '15 aofit 1876'. It is unlikely that this date
represents anything but the date of the piece's completion, as Faur6 was not
in the habit of dating copies made either for presentation or for the engraver.
In any case, this source (in C minor) is probably not a later copy intended for
either purpose since, in the first place, there are numerous differences in detail
- voicing of the piano accompaniment, and the like - between this version and
the published one and, in the second, there are in the manuscript no
engraver's marks or publisher's stamps.
4. Taylor Greer (1986: 16ff.) presents an analysis of this passage using an
analytical method based on Schenkerian principles and dealing with structural
implications of the whole-tone scale. Greer's analysis differs from the one
presented here principally in the reading of the prolongational motion to the
primary note and of the details of voice leading.
Frangoise Gervais, whose analytical method is fairly traditional in its
application of Roman numerals to foreground verticals, explains the
modulation from I to III in this passage as the result of the coincidence of the
scale of the Lydian mode on G and the scale of B minor (Gervais 1971: 68).
Indeed, this passage has been much analysed in the scholarly literature on
Faur6 with particular reference to the raised fourth scale degree's creating the
Lydian mode whose presence is a musical pun on the song's title. That Faur6
was trained at the Ecole Niedermeyer in the accompaniment of Gregorian
chant has fostered the theory that certain chromaticisms in his music are
expressions of a predisposition to modal structures (for the most detailed
study, see Kidd 1973). This idea has proved popular, but it is not without its
detractors (see Beltrando-Patier 1978: 469f.). In this song, while the Lydia/
Lydian pun is probably intended - it is certainly in keeping with Faure's sense
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EDWARD R. PHILLIPS
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TONAL CONTRADICTION IN FAURI
ta r - - di- t In - ju - ri-
Sb 4-Z29
REFERENCES
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EDWARD R. PHILLIPS
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