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Published online by Cambridge University Press: 10 April 2018
1 Tait, Robin, The Musical Language of Gabriel Fauré (New York: Garland, 1989)Google Scholar.
2 The other volumes of Series IV include: Volume 1: Fauré’s Symphony in F Major, op. 20, and two pieces for chorus and orchestra, Pavanne, op. 50, and Caligula, op. 52; and Volume 3: Berceuse op. 16, Ballade op. 19, Élégie op. 24, Romance op. 28, Fantaisie op. 111, and the Violin Concerto in D minor, op. 14.
3 Fauré’s last-known letter to his wife (dated 14 October 1924) includes instructions for her to burn his sketches and rough drafts. A transcription of this letter is given in Jean-Michel Nectoux, ed., and J. A. Underwood, trans. Gabriel Fauré: His Life Through His Letters (London: Marion Boyars, 1984), 337–9.
4 ‘Gabriel Fauré, Messe de Requiem, op. 48’, Bärenreiter: The Musicians’ Choice, www.baerenreiter.com/shop/produkt/details/BA9461_01/ (accessed 18 December 2017).
5 The suites Shylock and Pelléas et Mélisande were both published by Hamelle soon after their composition; the latter has been especially popular as a concert work in Europe and abroad. Heugel published the complete opera Pénélope (1913), and although stagings are rare today the prelude is occasionally included on concert programmes. Masques et Bergamasques was published by Durand (1919).
6 According to Bärenreiter’s press release on the Masques et Bergamasques study score, the parts are also available for purchase; the five string parts at €3.95 each, and the set of wind parts for €39.95.