concert tour de faure

South Florida Symphony Orchestra’s Summer Chamber Music Series - Fauré and Brahms

May 16, 2024 7:30 PM

Coral Gables Congregational United Church of Christ 3010 De Soto Blvd. , Coral Gables , Florida 33134

April 22, 2024

South Florida Symphony Orchestra

South Florida Symphony Orchestra’s Summer Chamber Music Series returns to enchant on May 16 with an “Eternal Sunshine” intimate evening featuring Gabriel Fauré and Johannes Brahms.

Let the hopeful, romantic sounds of South Florida Symphony Orchestra (SFSO)’s popular Summer with the Symphony chamber series enchant you this summer. The intimate evening concerts return to South Florida from May 16 through July 23. After the dazzling performances, attendees will have the opportunity to meet the talented musicians and enjoy champagne and light bites at a complimentary reception.

May’s “Eternal Sunshine” program features the radiant sounds of Piano Quartet No. 1 by Gabriel Fauré and Johannes Brahms. Faure’s quartet in C minor, Op. 15 has the unique harmonies and gorgeous melodies aficionados of the French composer have come to expect. Brahms’ quartet in G minor, Op. 25 was his introduction to the Viennese musical elite and is known for its exhilarating finale. Musicians Huifang Chen (violin), Claudio Jaffe (cello), Tao Lin (piano), and Brandon Wu (viola) will perform at 7:30 p.m. on Thursday, May 16, at Coral Gables Congregational United Church of Christ (3010 De Soto Blvd. Coral Gables).

From sold-out masterworks performances to accompanying today’s musicians such as Natalie Merchant and performing modern musical scores including Harry Potter and the Sorcerer’s Stone ™ In Concert and Classical Mystery Tour: A Symphonic Tribute to The Beatles, South Florida’s largest symphonic orchestra is continuing its journey of excellence inspiring audiences of all ages and musical genres.

SFSO’s Summer with the Symphony 2024 is generously underwritten by Robert Smith and The Secular Humanist Fund at The Miami Foundation.

General admission tickets for each program are $35; a three concert package is $90 ($15 savings). Student tickets are $15 each. Tickets are available to purchase by calling (954) 522-8445 or by visiting southfloridasymphony.org/summer-with-the-symphony.

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Requiem, Op.48 (Fauré, Gabriel)

Performances.

• Recordings ( 31 )
• Commercial 💿 ( 0 )
• Accompaniments ( 1 )
• Synthesized/MIDI ( 0 )

Version de concert, N 97b (1899-1900)

  1. Introït et Kyrie (EU) * #581181 - 37.21 MB - 8:10 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 3110 × ⇩ - FLAC - Dbmiller

FLAC file (audio) Dbmiller (2019/7/13)

⇒ 6 more : 2. Offertoire • 3. Sanctus • 4. Pie Jesu • 5. Agnus Dei • 6. Libera me • 7. In Paradisum

  2. Offertoire (EU) * #581182 - 39.61 MB - 9:10 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 256 × ⇩ - FLAC - Dbmiller

  3. Sanctus (EU) * #581183 - 15.66MB - 3:19 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 274 × ⇩ - FLAC - Dbmiller

  4. Pie Jesu (EU) * #581184 - 14.74MB - 3:19 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 894 × ⇩ - FLAC - Dbmiller

  5. Agnus Dei (EU) * #581185 - 31.88 MB - 6:48 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 223 × ⇩ - FLAC - Dbmiller

  6. Libera me (EU) * #581186 - 24.28 MB - 5:21 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 356 × ⇩ - FLAC - Dbmiller

  7. In Paradisum (EU) * #581187 - 16.57MB - 3:48 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 338 × ⇩ - FLAC - Dbmiller

  Complete Recording (EU) * #466219 - 79.19 MB - 34:32 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 1816 × ⇩ - MP3 - Rgagnaux

MP3 file (audio) Rgagnaux (2017/4/9)

  1. Introït et Kyrie (EU) * #581174 - 28.76 MB - 6:26 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 586 × ⇩ - FLAC - Dbmiller

  2. Offertoire (EU) * #581175 - 31.12 MB - 7:42 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 89 × ⇩ - FLAC - Dbmiller

  3. Sanctus (EU) * #581176 - 12.93MB - 3:11 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 80 × ⇩ - FLAC - Dbmiller

  4. Pie Jesu (EU) * #581177 - 11.25MB - 3:03 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 270 × ⇩ - FLAC - Dbmiller

  5. Agnus Dei (EU) * #581178 - 24.68 MB - 5:53 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 77 × ⇩ - FLAC - Dbmiller

  6. Libera me (EU) * #581179 - 22.01 MB - 4:57 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 121 × ⇩ - FLAC - Dbmiller

  7. In Paradisum (EU) * #581180 - 15.95MB - 3:43 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 124 × ⇩ - FLAC - Dbmiller

  Complete Recording (EU) * #468053 - 87.05 MB - 38:00 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 2907 × ⇩ - MP3 - Rgagnaux

MP3 file (audio) Rgagnaux (2017/4/20)

  1. Introït et Kyrie (EU) * #581188 - 33.15 MB - 7:04 -  0.0/10 2 4 6 8 10 ( - ) - V / 67 / V - 511 × ⇩ - FLAC - Dbmiller

  2. Offertoire (EU) * #581189 - 42.40 MB - 9:10 -  0.0/10 2 4 6 8 10 ( - ) - V / 66 / V - 75 × ⇩ - FLAC - Dbmiller

  3. Sanctus (EU) * #581190 - 15.44MB - 3:16 -  0.0/10 2 4 6 8 10 ( - ) - V / 66 / V - 86 × ⇩ - FLAC - Dbmiller

  4. Pie Jesu (EU) * #581191 - 14.79MB - 3:12 -  0.0/10 2 4 6 8 10 ( - ) - V / 66 / V - 200 × ⇩ - FLAC - Dbmiller

  5. Agnus Dei (EU) * #581192 - 26.38 MB - 5:16 -  0.0/10 2 4 6 8 10 ( - ) - V / 66 / V - 65 × ⇩ - FLAC - Dbmiller

  6. Libera me (EU) * #581193 - 26.47 MB - 5:23 -  0.0/10 2 4 6 8 10 ( - ) - V / 66 / V - 109 × ⇩ - FLAC - Dbmiller

  7. In Paradisum (EU) * #581194 - 19.25MB - 4:12 -  0.0/10 2 4 6 8 10 ( - ) - V / 66 / V - 112 × ⇩ - FLAC - Dbmiller

For Voices and Recorder Ensemble (Papalin)

  1. Introït et Kyrie * #108748 - 5.56MB - 6:04 -  0.0/10 2 4 6 8 10 ( - ) - ! N / ! N / ! N - 25192 × ⇩ - MP3 - Papalin

MP3 file (audio) Papalin (2011/7/10)

  2. Offertoire * #108749 - 6.04MB - 6:35 -  0.0/10 2 4 6 8 10 ( - ) - ! N / ! N / ! N - 9798 × ⇩ - MP3 - Papalin

  3. Sanctus * #108750 - 3.02MB - 3:17 -  0.0/10 2 4 6 8 10 ( - ) - ! N / ! N / ! N - 10726 × ⇩ - MP3 - Papalin

  4. Pie Jesu * #108751 - 3.38MB - 3:41 -  0.0/10 2 4 6 8 10 ( - ) - ! N / ! N / ! N - 31885 × ⇩ - MP3 - Papalin

  5. Agnus Dei * #108752 - 4.69MB - 5:07 -  0.0/10 2 4 6 8 10 ( - ) - ! N / ! N / ! N - 9780 × ⇩ - MP3 - Papalin

  6. Libera me * #108753 - 4.16MB - 4:32 -  0.0/10 2 4 6 8 10 ( - ) - ! N / ! N / ! N - 14420 × ⇩ - MP3 - Papalin

  7. In Paradisum * #108754 - 3.12MB - 3:24 -  0.0/10 2 4 6 8 10 ( - ) - ! N / ! N / ! N - 13483 × ⇩ - MP3 - Papalin

For Flute solo with Flute Quintet (Kamioka)

  4. Pie Jesu * #299105 - 4.20MB - 2:37 -  0.0/10 2 4 6 8 10 ( - ) - ! N / ! N / ! N - 7803 × ⇩ - MP3 - Stevetung

MP3 file (audio) Stevetung (2013/10/12)

Accompaniments

For voice and piano.

  4. Pie Jesu * #446751 - 4.61MB - 3:21 -  0.0/10 2 4 6 8 10 ( - ) - ! N / ! N / ! N - 3976 × ⇩ - MP3 - Free Pianist

MP3 file (audio) Free Pianist (2016/11/9)

Sheet Music

• Full Scores ( 7 )
• Parts ( 14 )
• Vocal Scores ( 8 )
• Arrangements and Transcriptions ( 13 )
• Libretti ( 0 )
• Other ( 0 )
• Source Files ( 0 )

Full Scores

Version d'église, n 97a (1887-93).

  1. Introït et Kyrie * #570368 - 6.67MB, 36 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1080 × ⇩ - YuriyLcello

PDF scanned by F-Pn YuriyLcello ( 2015/11/22 )

  3. Sanctus * #400484 - 3.55MB, 20 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1278 × ⇩ - Dmitterd

PDF scanned by F-Pn Dmitterd ( 2015/11/22 )

  5. Agnus Dei * #400485 - 4.38MB, 24 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1070 × ⇩ - Dmitterd

  7. In Paradisum * #400486 - 3.63MB, 20 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1518 × ⇩ - Dmitterd

  Complete Score ( Preview ) * #10711 - 1.02MB, 117 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 82098 × ⇩ - Lts1996

PDF typeset by editor Lts1996 (2007/7/24)

  Complete Score * #30151 - 19.55MB, 128 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 66249 × ⇩ - Alaric

PDF scanned by Alaric Alaric ( 2009/4/4 )

  Complete Score (tailored, A4 600dpi) * #860912 - 14.11MB, 128 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 216 × ⇩ - Albrights

PDF scanned by Alaric Albrights (2023/6/22)

  Flute 1/2 * #36511 - 0.04MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 9550 × ⇩ - Ottaviano

PDF scanned by Unknown Ottaviano ( 2009/8/7 )

⇒ 13 more : Clarinet 1/2 (B♭) • Bassoon 1/2 • Horn 1/2, 3/4 (F) • Trumpet 1/2 (F, plus B♭ transposed) • Trombone 1/2 (tenor clef, bass clef), 3 • Timpani • Harp • Organ • Violins I / II • Violas I, II • Cellos I • Cellos II • Basses

  Clarinet 1/2 (B ♭ ) * #36512 - 0.06MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 7017 × ⇩ - Ottaviano

PDF scanned by Unknown Ottaviano (2009/8/7)

  Bassoon 1/2 * #36513 - 0.21MB, 5 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 6410 × ⇩ - Ottaviano

  Horn 1/2, 3/4 (F) * #36514 - 0.53MB, 7, 6 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 9913 × ⇩ - Ottaviano

  Trumpet 1/2 (F, plus B ♭ transposed) * #36515 - 0.12MB, 3 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 7199 × ⇩ - Ottaviano

  Trombone 1/2 (tenor clef, bass clef), 3 * #36516 - 0.16MB, 3, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 6693 × ⇩ - Ottaviano

  Timpani * #36517 - 0.03MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 6148 × ⇩ - Ottaviano

  Harp * #36518 - 0.32MB, 7 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 7816 × ⇩ - Ottaviano

  Organ * #36519 - 1.74MB, 23 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 12237 × ⇩ - Ottaviano

  Violins I / II * #36520 - 0.27MB, 6 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 19482 × ⇩ - Ottaviano

  Violas I, II * #36521 - 1.12MB, 11 ea pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 14321 × ⇩ - Ottaviano

  Cellos I * #26379 - 0.50MB, 10 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 11100 × ⇩ - Generoso

PDF scanned by Unknown Generoso ( 2009/1/6 )

  Cellos II * #26380 - 0.52MB, 10 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 8544 × ⇩ - Generoso

PDF scanned by Unknown Generoso (2009/1/6)

  Basses * #36522 - 0.34MB, 8 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / C - 7403 × ⇩ - Ottaviano

Vocal Scores

  Complete Score * #25751 - 3.13MB, 78 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / 25 - 42683 × ⇩ - Carolus

PDF scanned by Unknown Carolus (2008/12/23)

  Complete Score * #464445 - 2.12MB, 80 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / 25 - 1612 × ⇩ - JacopoTore

PDF scanned by uploader JacopoTore ( 2017/3/27 )

  Complete Score (Organ reduction) * #08852 - 0.78MB, 42 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 41366 × ⇩ - Alberto biotech

PDF typeset by editor Alberto biotech (2007/6/27)

Pie Jesu (No.4)

  Complete Score * #24138 - 0.10MB, 4 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / 25 - 22099 × ⇩ - Daphnis

PDF scanned by Unknown Daphnis (2008/11/9)

  Soprano and Organ - B ♭  major * #129963 - 0.14MB, 3 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 27821 × ⇩ - Arranger

PDF typeset by arranger Arranger ( 2011/9/26 )

  Lower Soprano - A ♭  major * #459917 - 0.14MB, 3 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 2837 × ⇩ - Arranger

PDF typeset by arranger Arranger (2017/2/18)

  Mezzo-Soprano - G major * #459918 - 0.14MB, 3 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 3981 × ⇩ - Arranger

  Complete Score * #819159 - 0.47MB, 39 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 1827 × ⇩ - EdgarFGirtainIV

PDF typeset by editor EdgarFGirtainIV (2022/10/31)

Arrangements and Transcriptions

For 2 violins, viola, cello, double bass and harmonium (girtain iv).

  Complete Score and Parts * #527244 - 1.93MB, 135 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 8918 × ⇩ - EdgarFGirtainIV

PDF typeset by arranger EdgarFGirtainIV ( 2018/6/10 )

For Soprano and Wind Band (Lauf)

  Complete Score * #298085 - 0.18MB, 7 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 4553 × ⇩ - Melauf

PDF typeset by arranger Melauf (2013/10/3)

  Complete Parts * #468121 - 0.89MB, 22 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 1255 × ⇩ - Melauf

PDF typeset by arranger Melauf ( 2013/10/3 )

For 4 Flutes, Alto Flute and Bass Flute (Kamioka)

  Complete Score * #39994 - 0.07MB, 5 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 5730 × ⇩ - Hideo Kamioka

PDF typeset by arranger Hideo Kamioka ( 2010/12/18 )

  Complete Parts * #468122 - 0.09MB, 6 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 649 × ⇩ - Hideo Kamioka

For Voice, Cello and Organ (Brunet)

  Complete Score * #623474 - 0.86MB, 6 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 2425 × ⇩ - Alex'Not

PDF typeset by arranger Alex'Not ( 2020/5/4 )

For Flute and Organ (Kamioka)

  Complete Score * #485023 - 0.04MB, 3 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 5528 × ⇩ - Powell7300

PDF typeset by arranger Powell7300 (2017/7/30)

  Flute Part * #485024 - 0.02MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 1462 × ⇩ - Powell7300

For Saxophone and Organ (Brunet)

  Complete Score and Saxophone Part * #623429 - 0.95MB, 6 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 700 × ⇩ - Alex'Not

PDF typeset by arranger Alex'Not ( 2020/5/3 )

For Treble Instrument and Organ (Brunet)

  Complete Score and Treble Instrument Part (B ♭ ) * #623680 - 0.95MB, 6 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 720 × ⇩ - Alex'Not

PDF typeset by arranger Alex'Not (2020/5/5)

  Complete Score and Treble Instrument Part (C) * #623681 - 0.95MB, 6 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 897 × ⇩ - Alex'Not

For Organ (Brunet)

  Complete Score * #623473 - 0.84MB, 3 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 5882 × ⇩ - Alex'Not

In Paradisum (No.7)

  Complete Score * #623469 - 0.91MB, 6 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 4622 × ⇩ - Alex'Not

Free Recordings

• 1888 version : Mogens Dahl Chamber Choir and string ensemble; Søren Johannsen (organist); Mogens Dahl (conductor)
• 1893 version : Maria Magdalena Kammarkör; Mats Nilsson (conductor)
• Janet Price (soprano), Barnadette Greevy (alto), Ian Partridge (tenor) John Carol Case (baritone); BBC Chorus, orchestra; Nadia Boulanger (conductor)
• Judith Blegen (soprano), James Morris (bass), Atlanta Symphony Orchestra & Chorus, Robert Shaw (conductor)

General Information

• Recordings with unknown publication dates
• Gagnaux Collection Recordings
• Orchestre de la Suisse Romande/Performer
• Ansermet, Ernest/Performer
• Papalin/Performer
• Valls, Héctor/Performer
• Scores from Bibliothèque nationale de France
• Manuscripts from the 1800s
• Composers' holographs from the 1800s
• Pages with MssAu template
• Manuscripts
• Legge, Philip/Editor
• Pages with First Editions
• Scores published by Hamelle
• Works reprinted by Edwin F. Kalmus
• Scores with links to Amazon
• Roger-Ducasse, Jean/Arranger
• Gouin, Pierre/Arranger
• Girtain IV, Edgar/Arranger
• Lauf, Melvin/Arranger
• Kamioka, Hideo/Arranger
• Brunet, Alain/Arranger
• Work pages with links to recordings
• Fauré, Gabriel
• Romantic style
• Funeral music
• Religious works
• For 2 voices, mixed chorus, orchestra
• For voices and chorus with orchestra
• Scores featuring the voice
• Scores featuring the soprano voice
• Scores featuring the baritone voice
• Scores featuring mixed chorus
• Scores featuring the orchestra
• Latin language
• For 4 flutes, alto flute, bass flute (arr)
• For 6 players (arr)
• Scores featuring the flute (arr)
• Scores featuring the alto flute (arr)
• Scores featuring the bass flute (arr)
• Unknown arrangement tag
• For voice, cello and organ (arr)
• For 2 violins, viola, cello, double bass, harmonium (arr)
• Scores featuring the violin (arr)
• Scores featuring the viola (arr)
• Scores featuring the cello (arr)
• Scores featuring the double bass (arr)
• Scores featuring the harmonium (arr)
• For voice, wind band (arr)
• For voices with orchestra (arr)
• Scores featuring the voice (arr)
• Scores featuring the soprano voice (arr)
• Scores featuring wind band (arr)
• For flute, organ (arr)
• Scores featuring the organ (arr)
• For 2 players (arr)
• For saxophone, organ (arr)
• Scores featuring the saxophone (arr)
• For organ, treble instrument (arr)
• Scores with open instrumentation
• For organ (arr)
• For 1 player (arr)
• Pages with arrangements
• Works first published in 1900
• Works first published in the 20th century
• Pages with commercial recordings
• Pages with commercial recordings (Naxos collection)
• Pages with commercial recordings (BnF collection)
• Pages with parts for purchase
• Pages with accompaniments for purchase

BYU Singers + Concert Choir: Fauré Requiem

In commemoration of the 100-year anniversary of Gabriel Fauré’s death, BYU Singers and Concert Choir will perform the French composer’s most celebrated work for chorus, soloists, and orchestra.

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Requiem de fauré et dompierre.

Enjoy a beautiful evening of choral music with Faure's Requiem and the world premiere of François Dompierre's  Requiem . Experience these magnificent works in all their glory in a beautiful rendition performed by the Orchestre Philharmonique et Chœur des Mélomanes under the direction of Francis Choinière.

Gabriel Fauré,  Requiem _ François Dompierre,   Requiem

• Venue : Maison symphonique
• Producer / Presenter :  Orchestre Philharmonique et Choeur des Mélomanes
• Duration : 1h55 with an intermission
• Conductor : Francis Choinière

Rates and schedule

• South Florida Classical Review
• Performances
• Boston Classical Review
• Chicago Classical Review
• New York Classical Review
• Texas Classical Review
• Utah Arts Review
• Washington Classical Review
• The Classical Review

Fauré Quartet, French and Russian songs shine in New World concert

By Lawrence Budmen

Gabriel Fauré’s Quartet in G minor for Piano and Strings is one of those chamber scores that rarely appear on concert programs. Partly because it calls for only three string players rather than a quartet, the work is more often heard on recordings. 

Fauré’s opus was the featured offering on the New World Symphony’s chamber music matinee Sunday at the New World Center in Miami Beach. Both the music and the performance were nothing short of a revelation.

Written in 1886 at the twilight of the romantic era, the score is moody and brooding, pre-channeling Tchaikovsky but with a heavy Gallic accent. Surging melodies and high-voltage climaxes abound throughout the four movements. 

Fauré’s Piano Quartet was given a spectacular reading by four of the orchestral academy’s top fellows. Pianist Thomas Steigerwald drew a rounded sonority from the house Yamaha and he captured the brisk and airy verve of the second movement adroitly. The pianist displayed a fine palette of dynamics, especially in the fiery pages of the concluding Allegro molto. 

Violist Stephanie Block has been a standout player in both orchestral and chamber works over recent seasons. She consistently brought out her instrument’s tonal luxuriance with flexibility while astutely blending with her colleagues. Violinist Michael Rau’s light touch and the mahogany glow of James Churchill’s cello brought depth of expression to the Allegro molto.

The Adagio non troppo is the quartet’s fulcrum. A serene, almost classical subject was imbued with soulful feeling by the players and the music really took flight. The finale went with fizzing energy with the musicians fully engaged at white heat.

The program’s first half consisted of a series of lightweight miniatures. 

The Sonata in E-flat Major for harp with flute obbligato by eighteenth century composer Joseph Boulogne, Chevalier de St. George, was the most engaging of these curios. Filled with graceful, courtly themes, the three-movement work is unusual in that the harp is the leading instrument, and the flute part mostly relegated to the instrument’s lower register. Liberated from the arpeggiated writing for her instrument in many orchestral scores, harpist Phoebe Powell assayed the melodic lines with élan and technical mastery. Emily Bieker’s flute matched Powell in direct expression and pristine clarity.

Germaine Tailleferre’s Image offered echoes of the composers’ collective Les Six. Written for eight instruments, this fusion of populist elements within classical forms also offers a tip of the hat to Ravel and Satie (via quotes from their scores).  Alexandria Hoffman’s flute and Jesse McCandless’ clarinet led the ensemble with agility and brightness of tone. 

Darius Milhaud’s Dances of the Little Crocodile pictured the composer’s love of Brazilian dance and folk music. His decidedly French take on the tango is particularly amusing. Luis Salazar played with the breezy flair of a café violinist and pianist Wesley Ducote encapsulated the Latin keyboard rhythms.

Mezzo-soprano Ronnita Miller soloed in two brief vocal works by Igor Stravinsky from his post Le Sacre du Printemps period. 

Cat Lullabies is scored for the unusual combination of voice and three clarinets. Ironically the piece’s 1919 premiere was presented by Stravinsky’s rival Arnold Schoenberg at his concert series in Vienna. Miller captured the whimsy of “Indoors” and the nocturnal aura of “Sleepytime” which presents Stravinsky in the role of melodist and charmer. McCandless, Julianne Darby and Angelo Quail ably brought off the weighted clarinet backdrop.

Pribaoutki is a four-song cycle in the primitive Russian vein of Stravinsky’s Les Noces. The eight-member ensemble reveled in the spiky instrumental writing. “The Old Man and the Hare” pits a traditional folkish vocal line against modernist dissonance. Miller’s rapid articulation turned “Little Natasha” into a vocal tour de force.

The range and beauty of Miller’s instrument took center stage in four excerpts from Fauré’s Le Bonne Chanson in new arrangements by Michael Linville. These songs mix art song with traditional French chanson to delightful effect. Miller projected the joy of the coming of spring in “Winter is over” and spun the ecstatic lines of “Before you fade” with anguished emotion.

Conducted with spirit and definition by Chad Goodman, Linville’s orchestration for twelve players was consistently imaginative. Scampering winds and searing string paths dovetail the sweep of Paul Verlaine’s texts. As New World’s director of chamber music, percussion ensemble director, pianist and arranger, the multi-talented Linville is a musical polymath. His instrumentation enhanced the layered hues of Faurê’s poetic music.

The New World Symphony presents “Then and Now” 2 p.m. March 20 at the New World Center in Miami Beach. The chamber program features Grazyna Bacewicz’s Quartet, Fernanda Navarro’s Parthenogenes, Ruth Crawford Seeger’s Suite for wind quintet, Hannah Kendall’s Verdola and Brahms’ Piano Quintet. nws.edu

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Fauré and rutter requiems.

Rutter  Requiem Fauré  Requiem in D minor, Op. 48 (ed. John Rutter)

Mary Bevan  soprano Gareth Brynmor John  baritone Choir of Merton College   John Rutte r conductor

When Gabriel Fauré’s Requiem first appeared in Paris in 1888, it seemed to propose a whole new musical and religious philosophy. Far from the fire and brimstone of Verdi’s or even Mozart’s Requiems, Fauré’s is at its most powerful when at its most calm and reassuring. ‘It is dominated from beginning to end by a very human feeling of faith in eternal rest,’ said the composer of the score’s clean lines, pure vocal textures and elegant orchestration. John Rutter, long associated with the score as its editor, leads the Orchestra and the Choir of Merton College for this performance of Fauré’s masterpiece of understatement, along with his own setting of the Latin Requiem.

The Sheldonian Theatre is a unique space to experience live music. To see an interactive map of the theatre click  here .

Upcoming events

OPO in Japan: Ishikawa Kenritsu Ongakudo

03 May 2024 – 14:00

#OPOonTour | The Oxford Philharmonic Orchestra embarks on a tour of Japan, with concerts in Kanazawa, Fukui, Nagoya and Tokyo.

03 May 2024 – 16:40

04 May 2024 – 11:20

May 03 2024 – 14:00

May 03 2024 – 16:40

May 04 2024 – 11:20

Fauré ou le dernier amour

Distribution.

Fauré’s love affair with Marguerite Hasselmans, his companion and muse for the last twenty-four years of his life, is the inspiration behind this intimate conversation between music and words by pianist Aline Piboule and writer Pascal Quignard.

Getting here

Porte de Pantin station Paris Underground (Métro) Line 5 Tram 3B 

A celebration of Fauré and Bizet from Jean-Luc Tingaud and the NSO

It was a French extravaganza for the National Symphony Orchestra's first concert of the New Year: four works by Gabriel Fauré , who died a hundred years ago, and a symphony by Bizet, with French conductor Jean-Luc Tingaud conducting. For the choral works in tonight’s performance the National Symphony Chorus was joined by the youthful voices of Cór na nÓg (singers aged 9 to 14) and Cór Linn (singers aged 14-19).

Beginning and ending the concert with choral works made for a fascinating programme, as did combining the extremely renowned Requiem with lesser known Fauré works and Bizet’s popular  Symphony in C major .

The soft opening of Fauré’s Les Djinns , with its staccato voices and hushed strings, took a little time to gel together but the sudden fortissimo proclamation of “Dieu!” was arresting. Tingaud harnessed the crescendos and diminuendos of the combined choirs to good dramatic effect as the text depicted the terrors of the Jinn.

Principal Flute Catriona Ryan was the soloist in Fauré’s Fantaisie  (orchestrated by Louis Aubert). She offered a dreamy, sensuous account of this piece, written for the Concours de Flûte at the Paris Conservatoire in 1898. In the Andante cantabile she was ever attentive to phrasing while in the Allegro she captured the mercurial changes of mood with rapidfire scales and nimble double-tonguing. Tingaud, conscious of the delicate sound of the flute, kept the forces of the NSO firmly in check and never overwhelmed the delicate tendrils of the flute’s melody.

Ryan played the Morceau de concours  as an encore which Fauré had written for the same flute competition. I was struck how similar the first few bars of the piece sounded to Mozart’s Piano Concerto no. 21 . Accompanied by the gentle plucking of the harp, Ryan allowed her melody to soar, hover on the sustained notes before swooping gently down.

Bizet’s Symphony was composed when he was only 17 and one which he never heard performed in his lifetime. It illustrates his youthful mastery of orchestral colours and harmonic composition; it possesses a good deal of the effervescent humour and busyness of Mozart too. Tingaud made the NSO fizz with energy in the opening movement and Scherzo. In the Andante , the oboe impressed with its sinuous melody as it trickled down chromatically while later the violins were enchanting with their wispy sostenuto. The finale was an exciting moto perpetuo for the strings that brought the first half to a very satisfactory end.

Fauré’s Requiem  is a mystical work and always a treat to hear it. There were some issues with balance and co-ordination between the choirs and orchestra. The fresh young voices of Cór na nÓg and Cór Linn did remarkably well and brought an innocence (for example In Paradisum ) that was most fitting. Baritone Benjamin Russell was exceptional, projecting easily in the quiet moments as well as the loud, the silky lyricism of his voice nothing short of captivating. Zoë Moore possessed a sweet voice as she gave a serene if hushed rendition of the Pie Jesu . The Libera me was brilliantly moving as it implores to be spared from eternal death. Special mention goes to organist Fergal Caulfield who provided a binding presence throughout Fauré's masterpiece. 

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Concerts and Recitals

Tribute to Gabriel Fauré

Amphithéâtre Olivier Messiaen

on 04 October 2024 at 8 pm

Amphithéâtre Olivier Messiaen - on 04 October 2024 at 8 pm

In the more intimate setting of the Amphithéâtre Bastille, the musicians of the Paris Opera Orchestra welcome you for a programme of chamber music.  

Concert program

D’un matin de printemps

D’un soir triste

Septet with trumpet, op. 65

Quintet with piano nº1 in D minor, op.89

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Schubert & Fauré: Masters of Lyricism

Franz Schubert, the quintessential composer of art song, wrote more than 600 songs. The exquisite mezzo-soprano Fleur Barron and Artistic Director Gloria Chien will perform selections from Schubert’s epic final song cycle Schwanengesang (Swan Song) that expresses his desire and longing for lost love. Schubert’s Fantasy from the same final chapter of his life, is simultaneously one of the most virtuosic and sublime works for violin and piano. In his impassioned Piano Quartet, Gabriel Fauré incorporated his love of song into his dreamy instrumental melodies.

OREGON POET PRELUDE: Featuring Irene Cooper PRELUDE PERFORMANCE 1: 6pm | Young Artist Institute quartet performances at BG Food Cart PRELUDE PERFORMANCE 2: 6:30pm | Young Artist Institute solo performances in The Reser lobby

Fleur Barron appears by arrangement with IMG Artists, 7 West 54th Street, New York, NY 10019. (212) 994-3500 www.imgartists.com

Patricia Reser Center for the Arts Premieres Thursday, 6/29 • 8:00 pm PT

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Click on any piece of music below to learn more about it.

FRANZ SCHUBERT (1797-1828) Schwanengesang (Swan Song), D. 957 (22’)

Selected movements:

  II. Kriegers Ahnung (Warrior’s Foreboding)   IV. Ständchen (Serenade)     V. Aufenthalt (Resting Place)     X. Das Fischermädchen (The Fisher-Maiden)   XIII. Der Doppelgänger (The Double)   XIV. Die Taubenpost (The Pigeon Post)

In 1828, Franz Schubert’s six-year battle with syphilis began its final lethal phase. Despite his failing health, Schubert worked tirelessly to produce much of his finest music, including the collection of songs known as Schwanengesang (Swan Song).

Schubert never thought of Schwanengesang ’s 14 songs as a cycle, nor did he intend to publish them together. Nonetheless, after Schubert’s death, publisher Tobias Haslinger issued the songs in one grouping with an absurdly Romantic title, hoping to capitalize on the success of Schubert’s earlier works.

In the bleaker songs Kriegers Ahnung , and Aufenthalt , the piano’s weighty chords evoke anguish and despair. Ständchen , one of Schubert’s most popular songs, uses shifting minor-to-major harmonies to express the lover’s half-painful, half-pleasurable longing for his beloved.

Heine’s poems inspired Schubert’s greatest efforts in textural interpretation. The text of Das Fischermädchen suggests a pleasing love song, but its many key changes hint at the hopeful lover’s unresolved inner turmoil. In Der Doppelgänger , a wraith torments a lover standing outside a house in which many years earlier his beloved had lived. The lover’s tortured memories are conveyed by the stark stillness of the melody. After such anguish, Schubert ends with a delightful image of the carrier pigeon carrying messages of love in Die Taubenpost .

—© Elizabeth Schwartz

FRANZ SCHUBERT (1797-1828) Fantasy in C Major for Violin & Piano, D. 934 (26’)

In December 1827, Franz Schubert composed his final work for violin and piano, the Fantasy in C major, D. 934 . The descriptor “fantasy” can be understood as “flight of fancy,” and it allowed Schubert freer rein to provide both violinist and pianist multiple opportunities to take listeners on extraordinarily elaborate virtuosic excursions.

Structurally, D. 934 can be heard as a sonata containing four movements in contrasting tempos. In the third section, Schubert features a theme-and-variations on his 1821 song Sei mir gegrüsst (I greet you), set to a poem by Friedrich Rückert. The slowly ascending melody of the opening Andante molto also derives from the song’s primary theme, and as D. 934 progresses, we realize the melody of Sei mir gegrüsst anchors the entire work.

Both piano and violin share equally in the technical demands of the music. At times one accompanies the other; in other instances, the two instruments enter into elaborate conversations with animated dialogues. The fantastical elements of the music lie primarily in Schubert’s signature treatment of harmony as a series of fleeting excursions into distant tonalities.

GABRIEL FAURÉ (1845-1924) Piano Quartet No. 2 in G Minor, Op. 45 (36’)

I.  Allegro molto moderato II.  Allegro molto III. Adagio non troppo IV.  Allegro molto

Before the year 1870, chamber music was rarely heard in public performances in France. Instead, it was performed privately for the aristocracy or, after the revolution, for the bourgeois class. For the best French composers, much more exposure and profit came from working in the world of opera.

Things changed when Camille Saint-Saëns founded the “Société nationale de musique” in 1871. This concert series promoted the works of young composers, taking advantage of the low cost associated with chamber music to share opportunities with new musical voices. As one such composer, Gabriel Fauré, later recalled, “before 1870 I would never have dreamed of composing a sonata or a quartet.”

Many of Fauré’s most significant chamber works date to the period of 1877–87 and premiered at the Société nationale, including his highly successful First Violin Sonata and both of his piano quartets. The Piano Quartet No. 2 in G Minor premiered on January 22, 1887, with Fauré himself at the piano. Very little is known about the circumstances of its composition, but Fauré must have taken the quartet seriously, since it occupied him as his primary project from 1885–1886.

This quartet displays a broad, symphonic approach, inspired by composers like César Franck, who had premiered his Piano Quintet at the Société nationale to an enthusiastic reception in 1880. Most prominently, Fauré employs Franck’s trademark “cyclic” form, in which melodies introduced early in the piece recur in later movements.

Fauré typically avoided writing program music, or music that references ideas or stories outside of the music itself. A poignant exception occurs in the second movement of this quartet. Fauré later remembered how, when writing the movement, “without really meaning to, I recalled a peal of bells we used to hear of an evening…whenever the wind blew from the West. Their sound gives rise to a vague reverie, which, like all vague reveries, is not translatable into words. It often happens, doesn’t it, that something plunges us into thoughts that are so imprecise…Perhaps it’s a desire for something beyond what actually exists; and there music is very much at home.”

—© Ethan Allred

Hailed as “a knockout performer” by The Times , Singaporean-British mezzo-soprano Fleur Barron was awarded the 2022 Schubert Prize alongside Brigitte Fassbender by the Schubertíada. She has been chosen by Het Concertgebouw as a “Hemelsbestormer” (Skystormer) for the 2022-23 season, and has been designated an Artistic Partner of the Orquesta Sinfonica del Principado de Asturias in Oviedo for several seasons beginning in 2022-23, for which she will curate and perform multiple projects each year. A passionate interpreter of opera, chamber music, and concert works ranging from the baroque to the contemporary, Fleur is mentored by Barbara Hannigan.

In the 2022-23 season, Fleur makes orchestral debuts with Orchestre de Paris, Junge Deutsche Philharmonie, Netherlands Radio Philharmonic Orchestra, Göteborgs Symfoniker on tour in Sweden and at Hamburg’s Elbphilharmonie, Aix-en-Provence Festival, Slovenian Philharmonic, and Orquesta Sinfonica del Principado de Asturias. On the operatic stage, Fleur makes her debut with the San Francisco Symphony Orchestra in the title role of Kaija Saariaho’s Adriana Mater . She also sings the title role in Hasse’s Marc Antonio e Cleopatra with the NDR Radiophilharmonie in Hannover, the title role in Purcell’s Dido and Aeneas with La Nuova Musica for a recording on the Pentatone label, alto soloist in a new, staged production of Mozart’s Requiem at the Opéra National de Bordeaux, and Bersi in Andrea Chénier and Mallika in Lakmé for Opéra de Monte-Carlo, reprising Lakmé at Théâtre de Champs-Elysées. This season’s recital projects include concerts with Julius Drake at Het Concertgebouw, MiTO Festival in Milan and Turin, Philadelphia Chamber Music Society, and at Spivey Hall in Atlanta. She also joins duo partner Kunal Lahiry for recitals at Wigmore Hall and Oxford Lieder Festival, and teams up with Malcolm Martineau for an all-Britten recital at Snape Maltings.

Artist's Website

Taiwanese-born pianist Gloria Chien has one of the most diverse musical lives as a noted performer, concert presenter, and educator. She made her orchestral debut at the age of sixteen with the Boston Symphony Orchestra with Thomas Dausgaard, and she performed again with the BSO with Keith Lockhart. She was subsequently selected by The Boston Globe as one of its Superior Pianists of the year, “who appears to excel in everything.” In recent seasons, she has performed as a recitalist and chamber musician at Alice Tully Hall, the Library of Congress, the Phillips Collection, the Dresden Chamber Music Festival, and the National Concert Hall in Taiwan. She performs frequently with the Chamber Music Society of Lincoln Center.

In 2009, she launched String Theory, a chamber music series in Chattanooga, Tennessee that has become one of the region’s premier classical music presenters.  The following year she was appointed Director of the Chamber Music Institute at Music@Menlo. In 2017, she joined her husband, violinist Soovin Kim, as artistic director of the Lake Champlain Chamber Music Festival in Burlington, Vermont. The duo became artistic directors at Chamber Music Northwest in Portland, OR in 2020. Chien studied extensively at the New England Conservatory of Music with Wha Kyung Byun and Russell Sherman. She, with Kim, were awarded Chamber Music Society of Lincoln Center’s 2021 CMS Award for Extraordinary Service to Chamber Music.

Chien is Artist-in-Residence at Lee University in Cleveland, Tennessee, and she is a Steinway Artist. Chien received her B.M., M.M., and D.M.A. degrees from the New England Conservatory of Music as a student of Russell Sherman and Wha-Kyung Byun.

Upcoming Concerts & Events

• Chien-Kim-Watkins Trio: Beethoven’s Complete Piano Trios “Breaking Boundaries”
• Chien-Kim-Watkins Trio: Beethoven’s Complete Piano Trios “Triumph & Transcendence”
• Chien-Kim-Watkins Trio: Beethoven’s Complete Piano Trios “Dawn of a New Age”
• EXCLUSIVE DONOR CONCERT: Emerson Quartet Farewell with Gloria Chien

Benjamin Beilman has won international praise both for his passionate performances and deep rich tone which The Washington Post called “mightily impressive,” and The New York Times described as “muscular with a glint of violence.” The Times has also praised his “handsome technique, burnished sound, and quiet confidence,” and The Strad described his playing as “pure poetry.”

Beilman’s 2022-23 season includes his debuts performing Prokofiev 1 with Trondheim Symphony and Hamburg Symphoniker, Barber with the Oslo Philharmonic, and Tchaikovsky with the Taipei Symphony. He will also return to the Detroit Symphony to perform Mendelssohn under Matthias Pintscher, and on tour across Australasia, appearing with the West Australian Symphony Orchestra, Auckland Philharmonia Orchestra, and the Tasmania Symphony. In recital, he will premiere a new work by Gabriella Smith, commissioned by the Schubert Club in St. Paul, and the San Francisco Conservatory of Music. In April 2022, he became one of the youngest artists to be appointed to the faculty of the Curtis Institute of Music.

In past seasons, Beilman has performed with many major orchestras worldwide including the Chicago Symphony, Philadelphia Orchestra, Antwerp Symphony, Rotterdam Philharmonic, London Philharmonic, Frankfurt Radio Symphony, Zurich Tonhalle, Sydney Symphony, Houston Symphony, and Minnesota Orchestra. Conductors with whom he works include Yannick Nézet-Séguin, Cristian Măcelaru, Lahav Shani, Ryan Bancroft, Karina Canellakis, Edward Gardner, Juraj Valčuha, Han-Na Chang, Elim Chan, Osmo Vänskä, and Giancarlo Guerrero.

In recital and chamber music, Beilman performs regularly at the major halls across the world, including Carnegie Hall, Lincoln Center, Concertgebouw Amsterdam, Kölner Philharmonie, Berlin Philharmonie, Wigmore Hall, Louvre (Paris), Bunka Kaikan (Tokyo) and at festivals he has performed at Verbier, Aix-en-Provence Easter, Prague Dvorak, Robeco Summer Concerts (Amsterdam), Music@Menlo, Marlboro and Seattle Chamber Music, amongst others. In early 2018 he premiered a new work dedicated to the political activist Angela Davis written by Frederic Rzewski and commissioned by Music Accord which he has performed extensively across the US. He also acts as Artistic Advisor to the Lobero Theatre Chamber Music Project in Santa Barbara, California.

Beilman studied at the Curtis Institute of Music, and with Christian Tetzlaff at the Kronberg Academy, and has received many prestigious accolades including a Borletti-Buitoni Trust Fellowship, an Avery Fisher Career Grant, and a London Music Masters Award. He has recorded works by Stravinsky, Janáček, and Schubert for Warner Classics, and plays the “Ysaÿe” Guarneri del Gesù from 1740, generously on loan from the Nippon Music Foundation.

• Violin Masterclass with Benjamin Beilman (2022)

Violist Paul Neubauer’s exceptional musicality and effortless playing led The New York Times to call him “a master musician.” He recently made his Chicago Symphony subscription debut with conductor Riccardo Muti and his Mariinsky Orchestra debut at the White Nights Festival. He also gave the U.S. Premiere of the newly discovered Impromptu for viola and piano by Shostakovich with pianist Wu Han. At age 21, Mr. Neubauer was appointed Principal Violist of the New York Philharmonic and he held that position for six years. He has appeared as soloist with over 100 orchestras, including the New York, Los Angeles, and Helsinki Philharmonics, National, St. Louis, Detroit, Dallas, San Francisco, and Bournemouth Symphonies, and Santa Cecilia, English Chamber, and Beethovenhalle Orchestras. He’s also premiered viola concertos by Béla Bartók (a revised version of the Viola Concerto), Reinhold Glière, Gordon Jacob, Henri Lazarof, Robert Suter, Joel Phillip Friedman, Aaron Jay Kernis, Detlev Müller-Siemens, David Ott, Krzysztof Penderecki, Tobias Picker, and Joan Tower. He performs with SPA, a trio with soprano Susanna Phillips and pianist Anne-Marie McDermott, with a wide range of repertoire, including salon-style songs. He has been featured on CBS’s Sunday Morning , A Prairie Home Companion , and in Strad , Strings , and Peop le magazines. A two-time Grammy nominee, he has recorded on numerous labels including Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical. Mr. Neubauer appears with the Chamber Music Society of Lincoln Center and is the Artistic Director of the Mostly Music series in New Jersey. He is on the faculty of The Juilliard School and Mannes College.

• Viola Masterclass with Paul Neubauer (2023)

The first American in four decades and youngest musician ever to win First Prize at the International Tchaikovsky Competition Cello Division, Zlatomir Fung is poised to become one of the preeminent cellists of our time. Astounding audiences with his boundless virtuosity and exquisite sensitivity, the 23-year-old has already proven himself to be a star among the next generation of world-class musicians. A recipient of the Borletti-Buitoni Trust Fellowship 2022 and a 2020 Avery Fisher Career Grant, Fung’s impeccable technique demonstrates mastery of the canon and exceptional insight into the depths of contemporary repertoire.

In the 2022-23 season, Fung performs with orchestras and gives recitals in all corners of the world. Orchestral engagements include the BBC and Rochester Philharmonics, Milwaukee, Reading, Lincoln, Ridgefield, and Sante Fe Symphonies, Baltimore Chamber Orchestra, Sarasota Orchestra, and APEX Ensemble. He gives the world premiere of a new cello concerto by Katherine Balch with the Dallas Symphony Orchestra. He plays recitals throughout North America with pianists Benjamin Hochman, Dina Vainshtein, and Janice Carissa, including stops in New York City, Chicago, IL, San Diego and Berkeley, CA, Los Alamos, NM, Rockville, MD, Melbourne, FL, Vancouver and Sechelt, BC, Northampton, MA, Province, RI, Burlington, VT, and Waterford, VA. Tours of Europe and Asia include a recital at Wigmore Hall and two performances at Cello Biënnale Amsterdam.

Recent summer festival appearances include Aspen Music Festival, Bravo! Vail with the New York Philharmonic and Leonard Slatkin, ChamberFest Cleveland, Chamber Music Northwest, La Jolla Chamber Music Society, Rockport Chamber Music Festival, and Verbier. As a soloist, Fung has appeared with the Detroit, Kansas City, Seattle, Utah, Greensboro, Ann Arbor, and Asheville Symphonies, among many others. Past recital highlights include his Carnegie Hall Weill Recital Hall debut with pianist Mishka Rushdie Momen and multiple tours throughout North America, Europe, and Asia. As a chamber musician, he has been presented by the Philadelphia Chamber Music Society, Philharmonic Society of Orange County, IMS Prussia Cove, Syrinx Concerts in Toronto, The Embassy Series & The Phillips Collection in Washington DC, and Salon de Virtuosi and Bulgarian Concert Evenings in New York City.

A winner of the 2017 Young Concert Artists International Auditions and the 2017 Astral National Auditions, Fung has taken the top prizes at the 2018 Alice & Eleonore Schoenfeld International String Competition, 2016 George Enescu International Cello Competition, 2015 Johansen International Competition for Young String Players, 2014 Stulberg International String Competition, and 2014 Irving Klein International Competition. He was selected as a 2016 U.S. Presidential Scholar for the Arts and was awarded the 2016 Landgrave von Hesse Prize at the Kronberg Academy Cello Masterclasses.

Of Bulgarian-Chinese heritage, Zlatomir Fung began playing cello at age three. Fung studied at The Juilliard School under the tutelage of Richard Aaron and Timothy Eddy. Fung has been featured on NPR’s Performance Today and has appeared on From the Top six times. In addition to music, he enjoys cinema, reading, and blitz chess.

• Cello Masterclass with Zlatomir Fung (2022)

Irene Cooper is the author of the feminist psychological thriller Found , a Next Generation Indie Book Awards finalist, the novel Committal , poet-friendly spy-fy about family, and the poetry collection spare change , finalist for the Stafford/Hall Award. With Ellen Santasiero, Irene co-edited the anthology Placed: An Encyclopedia of Central Oregon . Poems, stories, essays, and reviews appear in Denver Quarterly , The Feminist Wire , The Rumpus , streetcake , Witness , Beloit Poetry Journal , and elsewhere. Her poetry collection, even my dreams are over the constant state of anxiety , is forthcoming in 2024 from Airlie Press, the non-profit collective where she currently serves as one of six editors. Irene co-founded and teaches creative writing at The Forge, and teaches in the OSU-Cascades Low-Residency MFA program in creative writing, as well as in community. With VMello, she co-hosts Raging Writers/Spoken Poets , a free monthly writing workshop and open mic in Bend; and with her partner, Michael Cooper, hosts Blank Pages Salon, a free monthly online opportunity for writers to gather and share work. Irene supports AIC-directed writing at a regional prison, and lives with her people and Maggie in Oregon.

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Tour-de-Faure

Guide tourisme, vacances & week-end dans le lot.

Tour-de-Faure est une commune du Lot, en région Occitanie, à 30 km à l'est de Cahors .

Le territoire de la localité est situé sur la rive droite du cours du Lot, le fleuve servant de limite avec la localité de Saint-Cirq-Lapopie , sur la rive gauche, charmant village médiéval perché sur un éperon dominant la vallée, et dont Tour-de-Faure a été détachée pour devenir commune autonome en 1902.

Le village de Tour-de-Faure doit son nom à une famille de chevaliers, la paroisse ayant également porté l'appellation "Montagnac" au fil des partages, donations et autres épisodes agités au Moyen Âge ou sous l'Ancien régime. Axe stratégique en terme de commerce fluvial, le Lot était alors jalonné de bourgs aux habitations en partie fortifiées. C'est le cas de Tour-de-Faure, qui compte désormais près de 350 habitants. Avec son patrimoine, son caractère authentique et pittoresque, sa tradition marinière, son environnement préservé au cœur du Parc Naturel Régional des Causses du Quercy , la commune est devenue une dernière étape agréable avant de gagner Saint-Cirq-Lapopie où convergent chaque année plus de 500 000 touristes.

Informations géographiques

Villes & villages les plus proches, à voir, à faire.

Le long de la route sinueuse reliant Cahors à Cajarc , le village que surplombe le causse a conservé plusieurs sites historiques constituant un patrimoine à la fois riche et varié.

Le plus ancien est le dolmen de Peyry-Carbonnières, qui atteste d'une présence humaine antérieure à notre ère, et qui abrite une chambre funéraire de 3 mètres de long.

Hors l'église Saint-Étienne édifiée au XVIII e siècle sur des bases romanes et remaniée au XIX e quand fut ajouté un clocher, les autres édifices sont privés et ne se visitent pas, mais méritent toutefois d'être observés de l'extérieur.

C'est le cas de la Tour de Faure qui a donné son nom au village et qui date du XVIII e siècle. Haute de quatre étages, elle est le dernier témoignage du siège du fief seigneurial de la famille Faure, et qui changea ensuite plusieurs fois de propriétaire.

A voir également au niveau de l'ancien port, la maison forte des Montanhagol, édifiée au XV e siècle sur un éperon dominant le cours du Lot et les falaises voisines.

Enfin, héritage d'un autre pan du passé mais toujours en service, l'écluse de Crégols , en amont du bourg, où les bateaux de croisière ont succédé aux gabarres de jadis, ajoute au pittoresque de la localité.

Reste que l'atout premier de Tour-de-Faure est d'offrir au visiteur, de quelque lieu où l'on se situe sur le territoire communal, un point de vue sans égal sur le village de Saint-Cirq-Lapopie , de son cœur médiéval, au sommet de la colline, à ses maisons et plages bordant le Lot en passant par ses ruelles étagées. Ce paysage de carte postale peut s'avérer le cadre d'une pause détente et farniente au niveau de l'aire de pique-nique et sportive, près du stade.

Mais on peut préférer une activité plus tonique. Rendez-vous alors à la base nautique où "Lotaventure" propose des randonnées en canoë sur le Lot, des séances encadrées de spéléologie, d'escalade ou de canyoning pour débutants ou pratiquants plus confirmés. Renseignements au 05 65 22 24 19.

A proximité, une association loue des vélos de cyclo-tourisme, des VTT ou des vélos à assistance électrique pour découvrir le village et ses environs en conciliant sport et détente. Des conseils sont prodigués pour choisir des itinéraires enrichissants et sécurisés.

Pour des circuits de randonnée pédestre, et ils sont légion le long de la rivière, empruntant par exemple le chemin de halage creusé dans la falaise ou les sentiers menant vers les hauteurs des causses, sans oublier l'ancien chemin de Saint-Jacques qui relie Figeac à Cahors, documentation et renseignements au 05 65 53 20 65.

Il peut par ailleurs s'avérer pertinent de contacter la maison du Parc Naturel Régional des Causses du Quercy qui propose toute l'année animations et ateliers sur les thématiques de l'environnement et du patrimoine sous toutes ses formes (informations au 05 65 24 20 50).

On n'oubliera pas les pêcheurs qui peuvent profiter des eaux du Lot. Renseignements au 05 65 35 50 22.

Lieux d'intérêt

Évènements et festivités.

En juillet et août, marché de pays le mardi matin. Une bonne occasion de découvrir le riche terroir du Quercy (fromages, foie gras, safran…).

A la mi-août, fête votive avec animations gourmandes et ludiques, concert et bal.

• Le 28 avril 2024
• Animations pour enfants - Démonstration de tournage sur bois - Exposition de véhicule ancien - Vide grenier extérieur - Autour de la salle des Fêtes de Tour de Faure
• Chemin de Champ Nègre, Des Racines et des Fruits
• Visite de la pépinière et zoom sur les haies fruitières et champêtres, et la biodiversité avec la LPO «Ligue pour la protection des oiseaux».
• 1349 avenue de Montagnac, La Paysannerie des Versanes
• Visite de la serre Walipini et du jardin à 11h00,14h00 et 16h00. - Dégustation des apéritifs à 12h00. - Possibilité de déjeuner sur place avec le food truck de la Cabane de Julia.
• Le 31 mai 2024
• Le bourg, Salle des fêtes
• A partir de 14 ans - Avec Alexandre Virapin - Texte : Jules Meary et Alexandre Virapin - Mise en scène : Jules Meary - Régie : Marine Iger - Production : BAJOUR - Production déléguée : Le Bureau des Paroles / CPPC - Soutiens : Théâtre L'Aire Libre – Rennes ; Festival Mythos – Rennes ; Le Sel – Sèvres. - BAJOUR est conventionné par la DRAC Bretagne, associé au Quartz, scène nationale de Brest et au Théâtre Public de Montreuil – Centre dramatique national. - Bajour est soutenu par la Région Bretagne et par la Ville de Rennes.

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• Culture et loisirs

Tour-de-Faure. Le 3e marché aux fleurs

À l’initiative de Génération Mouvements du Lot, dimanche 28 avril à Tour-de-Faure se tiendra en intérieur et en extérieur le 3e marché aux fleurs, plants, produits locaux, artisanat, objets et jeux en bois, poterie, porcelaine, résine, bijoux, vins, légumes, herboristerie, gâteaux, huile de noix, miel, lavande, avec aussi un vide-greniers extérieur. Plus de quarante stands magnifiques stands seront exposés. Si vous n’êtes pas encore inscrit, il est encore temps au 06 09 47 50 72, au tarif de 2 € le mètre.

Au programme : animation pour enfants (maquillage, tatouage éphémère, modelage, dessins, jeux en bois…), exposition de véhicules anciens, démonstrations de tournage sur bois avec l’association Faut qu’ça tourne.

Tombola et Buvette. Entrée gratuite. Restauration sur place sur réservation au 06 09 47 50 72 : aligot saucisse avec une part de fromage et de tarte aux pommes plus un café et une boisson.

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