SEEN AND HEARD INTERNATIONAL

Fauré, Mendelssohn, Chopin and Schubert: William Howard (piano), King’s Place, London, 1.5.2009 (J-PJ)

Mendelssohn: Song Without Words in E flat, Op.30, No.1
Fauré: Romance Sans Paroles, Op.17, No.3
Chopin: Nocturne in E major, Op.62, No.2
Fauré: Nocturne No.6 in D flat major
Fauré: Nocturne No.13 in B minor
Schubert: Impromptu in E flat, Op.90, No.2
Fauré: Impromptu No.2 in F minor, Op.102
Fauré: Impromptu No.5 in F sharp minor, Op.102


Respected and admired, Fauré is still a neglected composer. Apart from the popular Requiem, Pavane and orchestral suites, his works seldom receive an airing. It was a pleasure, therefore, to explore some of the composer’s lesser-known piano pieces in this recital by William Howard. 

Playing entirely from memory, and interspersing his performances with detailed commentaries about each work, Howard cast his programme into three parts. Each part coupled works by Fauré with those of composers of earlier generations whom he admired, and who influenced his style. The connection between Mendelssohn’s Song Without Words in E flat and Fauré’s Romance Sans Paroles was clear enough in their titles, and Howard focused on both pieces’ inner serenity and respect for traditional form. But even in this early work, Fauré exhibits a flair for the unconventional, with unexpected modulations and Chopinesque flourishes.

Fauré’s affinity with Chopin was given full exposure in his two Nocturnes, which were preceded by Chopin’s own version of the form. Here, Howard contrasted the radiant D flat Nocturne with the more urgent pathos of the B minor – Fauré’s final work for piano. His playing in No.6 conjured up shades of Ravel (whom Fauré briefly taught), while in No.13 he dwelt on the work’s dark and despairing mood.

In contrast, Howard’s playing of the three Impromptus – one by Schubert; two by Fauré – impressed with its sparkle and virtuosity. His rapid fingering in the famous Schubert Impromptu had to be seen to be believed, while his energy and command of the keyboard was extended to Fauré’s daring Impromptu No.2. Howard chose as his final work the Impromptu No.5, with its dreamy whole-tone harmonies. Looking back to the romanticism of he predecessors, and forward to the impressionism of Debussy, it was a fitting end to a memorable recital.

John-Pierre Joyce


^{Back to Top                                                    Cumulative Index Page}