Fauré composed his Quartet in g minor in 1886 in the same year that he composed his masterful and most recognized work, Requiem.

Fauré was essentially a conservative composer, upholding the great traditions of classicism wrapped in the beautiful harmonies of the impressionist period. His work is known for its simple melodic design, careful craftsmanship, simplicity of means and economy of musical material. It is more reminiscent of Schumann than of Debussy. Yet he managed to infuse it with much originality. For many years Fauré was a teacher at the Paris Conservatoire where his students included Enescu, Roger Ducasse, Ravel, Florent Schmitt and Nadia Boulanger.

With the exception of the Requiem, he is best known for his compositions in smaller forms, particularly the songs and piano pieces. Of his music Eric Blom has written,

“Fauré’s art reflects French civilization at its most fastidious. His is an exclusive art, like that of many others of the finest creative Frenchmen. . . He knew exactly what he could not do, and he never attempted it. Grandiose, passionate or urgently dramatic pages are entirely absent from his work; one searches them vainly for anything like sustained polyphony. But this does not mean he was in any sense weak in counterpoint for his counterpoint is only hidden in the beauty of his harmonies. His textures are wonderfully woven, if entirely unacademic . . Discretion, reticence, restraint – these are the qualities most often pointed out in Fauré.”

The first movement is bold and strong, developing three themes. Notice the change of the main theme at the beginning from minor to major in the recapitulation. This changing from major to minor, or the reverse, in order to establish greater contrast, is a composition device much loved by Fauré.

The second movement is a lively Scherzo with clever use of alternating meters that shifts the accent patterns under the elegant melody.

The slow Adagio non troppo begins with a plaintive viola solo with simple piano accompaniment. The chords in the piano are reminiscent of the evening bells Fauré heard as a child.

The Finale, Allegro molto, revives the same minor-to-major contrast heard in the opening movement. The movement drives forward to a brilliant conclusion.