Gabriel Fauré (1845-1924) is one of France's leading composers and used a distinctive musical approach to bridge Post-Romanticism and Impressionism. After the Franco-Prussian War, French musicians established the National Music Association to promote...
Gabriel Fauré (1845-1924) is one of France's leading composers and used a distinctive musical approach to bridge Post-Romanticism and Impressionism. After the Franco-Prussian War, French musicians established the National Music Association to promote music, and this effort to revitalize French music led to the development of instrumental sonatas and chamber music at the end of the 19th century. In this context, Fauré made his first sonata in 1876, <Sonata for Violin and Piano No. 1 in A Major, Op. 13>
<Sonata for Violin and Piano No. 1 in A Major, Op. 13> is Fauré's early work, which is a pioneer in French chamber music. The work complied with the traditional way of classicism and composed using his own modern and individual techniques. This sonata also served as a bridge from Romanticism to Impressionism, and is also well represented in the music of Fauré
This sonata consists of four movements. In detail, the first movement is in sonata form, the second movement in sonata form, the scherzo of the third movement in composite ternary form, and the fourth movement in sonata rondo form. There are a variety of musical features, including thematic melodies and techniques for transforming them in each movement.
In addition, since this work uses the modes. it does not form a functional harmonic relationship and avoids monotony by using a complex rhythms and syncopations. In particular, the violin and the piano are characterized by having a equivalent relationship with each other as if they were having conversations in the contrapuntal texture. Fauré tried his own new techniques in harmony, scale, rhythm, and texture in <Sonata for Violin and Piano No. 1 in A Major, Op. 13>. In addition, He expresses originality with delicate melody, and this sonata is placed in a special position in chamber literature