Sonata No.1 in A, Op.13:
This is an editorial ‘tour de force’ of this seminal work. The inter-relationships between sources are especially challenging, and the resultant size of the critical commentary in this edition may at first appear daunting. However, the wealth of information it contains repays careful study; in particular, violinists who may have struggled with some of the awkward octave passages in the first movement will be gratified to learn that the source material reveals simpler, and fully authentic, alternatives. Howat also examines in illuminating detail the relationships between bowing and phrasing, the appropriate placing of dynamic markings (sometimes inconsistent across the sources) and of course the ever-present questions of tempo and metronome indications.

Anthology of Original Pieces:
This attractive volume brings back into the repertoire the delightful ‘Morceau de lecture’, which had been unaccountably out of print for almost a century. The ‘Romance’ and particularly the ‘Berceuse’ are of course justly popular, but the soaring and impassioned ‘Andante’ deserves to be heard much more regularly.

Sicilienne Op.78 (version for violin or viola):
Although Fauré gave us several instrumentations of this celebrated piece, it is almost certain that he did not make the violin and piano transcription which was published in 1898 together with his authentic cello and piano version. As Roy Howat notes, this 1898 violin and piano version for the most part simply transcribes the cello part up an octave, or sometimes two octaves. While this is often perfectly acceptable, the pitch relationship between the violin and piano lines is in places less than optimal. Therefore in Roy Howat’s arrangement he offers an option with the material recast at these points, to create a more satisfying interplay between melody and accompaniment. In particular, a substantial ossia is offered in the central section, so that either instrument can take the melody line. This ossia is also included in the viola version.

Berceuse (Op.56):
It may come as a surprise to learn that Fauré was only seventeen when he composed this enchanting piece, originally called ‘The Song in the Garden’. Put aside for thirty years, this marvel of melodic inspiration was destined for glory as soon as the composer resurrected it to open ‘Dolly’ for piano duet. Roy Howat’s arrangement offers a judicious ossia which makes the piece suitable for violinists of various ability levels.