Gabriel Fauré (1845–1924)
Works: Romance sans paroles, op. 17 no. 3; “Nocturne” no.
1, op. 33 no. 1; “Nocturne” no.
3, op. 33 no. 3; “Impromptu” no.
2, op. 31; “Nocturne” no. 6, op.
63; Barcarolle no. 1, op. 26; “Nocturne” no.
11, op. 104 no. 1; “Nocturne” no.
13, op. 119; “Improvisation” (8 pièces brèves), op. 84 no.
5; Romance sans paroles, op. 17 no. 1; “Prélude” op.
103 no. 2; “Prélude” op. 103 no.
7; Ballade, op. 19
Performer: Kun Woo Paik, piano
Recording: Brangwyn Hall, Swansea, 29–31 July 2001
Label: DECCA 470 246-2 [72:21]
Fauré’s piano music — that curious, oft-overlooked world — has, for long, lived somewhat in Chopin’s shadow, despite sharing Parisian origins and similar poetic titles: nocturnes, impromptus, ballades. But to reduce Fauré’s oeuvre to a mere Chopin echo is to miss a world of subtlety, harmonic daring, and an enigmatic, even austere lyricism.
This disc, expertly navigated by Kun Woo Paik, serves as an illuminating corrective. Right away, the opening Romance sans paroles, op. 17 no.
3, might fool you into expecting Chopin-like languor; instead, Paik’s articulation teases out the melody not on the surface but buried within, softly veiled in the textures — a hallmark of Fauré’s inner-voice mastery. The pianist’s touch is at once silken and incisive, balancing the piece’s sweetness with a cool restraint. There’s no indulgence here.
Paik’s voicing throughout is a revelation. Take the “Nocturne” no. 6, op.
63: the lines unfold with crystalline clarity, the melodic thread placed—often unconventionally—in the middle register, shimmering as it is surrounded by filigree and tender harmonies. One can almost hear the Debussian undercurrents hinted at in these textures, particularly in the shimmering, impressionistic harmonies that ripple beneath the surface. His approach to rubato is judicious and alive—especially in the disc’s crown jewel, the Ballade, op.
19. Here, Paik’s timing breathes with a natural ebb and flow, never forced, but always charged with a kind of passionate urgency. The piece itself, often described as Fauré’s most ambitious piano work, straddles a; Germanic weightiness and French elegance, and Paik negotiates this terrain with admirable balance.
Moments of thunderous fortissimo are firmly grounded, yet never heavy-handed. By contrast, the more intimate “Improvisation” from the 8 pièces brèves sparkles with a fleeting, whimsical lightness—Paik nimble and attentive to its capricious character. Technically, the pianist is impeccable: the delicate gradations of dynamics, the subtle changes in tempo that feel organic rather than contrived, the clarity of voicing even in the most complex passages—these all attest to not only refined skill but a profound understanding of Fauré’s idiom.
The Préludes from op. 103, often overlooked jewels, receive an especially sensitive reading; the C-sharp minor prelude, for instance, is rendered with a certain futuristic austerity, its edges neither too softened nor too harsh, but just right to hint at Fauré’s forward-looking harmonic language. Paik resists the temptation to romanticise, avoiding the syrupy or overly sentimental.
This is music that thrives on understatement and nuance rather than grand gestures. The Barcarolle op. 26, for instance, floats with a gentle pulse, yet the shading in the left hand’s undulating figure reveals a keen ear for color and texture.
The warm acoustics of the concert hall seem to breathe through the recording.
If there’s a fault to be found, it might be that some of the slower nocturnes occasionally verge on introspection that feels slightly too reserved, perhaps inviting a touch more warmth or spontaneity. Yet even here, the recording’s clarity shines, allowing the listener to catch the smallest inflections and harmonic shifts. In sum, this album invites a reconsideration of Fauré’s piano output — not as a footnote to Chopin, but as a distinct and quietly revolutionary voice.
Kun Woo Paik’s technical prowess and deep musical intelligence combine to present these; works in their own right: at once elegant and modern, complex yet accessible. Highly recommended for those seeking to discover the deeper hues of French piano music beyond the obvious. This is a disc that rewards with every listen — subtle, intelligent, and utterly musical.
