His contribution to French music as a composer must lie chiefly in hissongs, his piano music and his chamber music, although works like the poignant Requiemhave an unassailable place in liturgical and choral repertoire.īarcarolleNo.2 in G major, Op. Faure's harmonic idiom with itssubtle changes of tonality and his gift for melody, combine with an understandingof the way contemporary innovations might be used in a manner completely hisown. His musical languagebridged a gap between the romanticism of the nineteenth century and the worldof music that had appeared with the new century, developing and evolving, butretaining its own fundamental characteristics. He remained in this position until 1920, his time for compositioninitially limited by administrative responsibilities, although he was laterable to devote himself more fully to this, adding yet again to the repertoireof French song, with chamber music and works for piano. His association with theConservatoire, where his pupils over the years included Ravel, Charles Koechlin,Georges Enescu and Nadia Boulanger, led, in 1905, to his appointment asdirector, in the aftermath of the scandal that had denied the Prix de Rome toRavel. In 1892he became inspector of French provincial conservatories and four years laterprincipal organist at the Madeleine, in the same year finding, at last,employment as teacher of composition at the Conservatoire, the way now open tohim after the death of the old director Ambroise Thomas, who had found Fauretoo much of a modernist for such a position. The lastdecade of the nineteenth century brought Faure more public recognition.
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