LDV102

31 XAVIER PHILLIPS, CÉDRIC TIBERGHIEN Do the later works also have this charm, this seduction? Xavier Phillips : Those elements are his hallmark, an unabashed characteristic of his music that you find in his final works too, even though they’re considerably sharper and sometimes abstruse. Some composers burn what they have worshipped, turn their backs on some of their earlier works. Fauré, on the other hand, repudiates nothing. That’s one of the main reasons that I love everything in his output. Cédric Tiberghien : You also have to place this factor in the context of the mélodie , a thread that ran throughout his life. Fauré had the invaluable gift of melody. He composed an enormous amount for the voice, and very little for solo instruments, except for piano, violin and cello. In both sonatas there are phrases that could be sung. You could invent words to fit them and it would work. That would be impossible with the Debussy Sonata! Après un rêve is as beautiful when you sing it as when you play it on the cello.