Gabriel Fauré’s Poème d’un jour has never fared well among his critics. Fauré composed the song cycle in 1878, thirteen years before he embarked on his six mature cycles, including La bonne chanson (1894), La chanson d’Ève (1910), and L’horizon chimérique (1921). The three early settings of poet Charles Grandmougin trace a brief love affair from infatuation, “Rencontre,” to rejection, “Toujours,” to resigned acceptance, “Adieu.” Musically, the songs cohere through a network of shared motives, accompaniment figures, and harmonic structures. The keys of Fauré’s autograph also follow a logical tonal plan from D-flat major to F-sharp minor to G-flat major—enharmonically, a V–i progression followed by a minor–major shift. (The key scheme appears even more clearly in the 1880 first edition, which transposes the autograph keys to B major, E minor, and E major.)...

Article PDF first page preview

Article PDF first page preview
Article PDF first page preview
You do not currently have access to this article.