When Simple is Necessary: Fauré’s Berceuse

by Maureen Buja

A berceuse is a piece to put you to sleep – particularly if you’re a small child in a cradle. It’s usually in triple meter with a very simple tonality – wild and chromatic is just out of the question if you want it to be a lullaby. French composer Gabriel Fauré (1845–1924) composed a Berceuse, op. 16, that continues to be a performer’s favourite.

John Singer Sargent: Gabriel Fauré, 1899 (Paris: Musée de la Musique)

Fauré made his name at two major French churches as an organist. First at the Église Saint-Sulpice, where he started as the choirmaster in 1871 under the organist Chares-Marie Widor before moving to the Église de la Madeleine in 1874, where he was deputy organist under Camille Saint-Saëns, taking over when the senior organist was on one of his frequent tours. Although he was recognised as a leading organist and played it professionally for some 40 years, he didn’t appreciate its size, with one commentator saying, ‘for a composer of such delicacy of nuance, and such sensuality, the organ was simply not subtle enough’.

In 1879, he wrote a little Berceuse that was quickly appreciated by violinists. Fauré himself didn’t quite see what the fuss was about, but the work went into the repertoire of many violinists in the late 19th century and was recorded by the great Belgian violinist Eugène Ysaÿe.

The premiere of the work was given in February 1880 at the Société Nationale de Musique (which Fauré was a founding member) with the violinist Ovide Musin and the composer at the piano. The French publisher Julien Hamelle was at the performance and quickly put the work into print, where it sold over 700 copies in its first year alone.

It has been arranged for cello, violin and orchestra, and even as a vocalise for text-less voice and harp. 

This recording was made in 1935, with violinist Henry Merckel, under Piero Coppola leading the Orchestre des Concerts Pasdeloup.

Henry Merckel

Henry Merckel (1887–1969) was a classical violinist from Belgium who graduated from the Paris Conservatoire in 1912. He had his own string quartet and was concertmaster of the Paris Conservatoire Orchestra (now known as the Orchestra de Paris) from 1929 to 1934, and also served as concertmaster of the Paris Opera Orchestra from 1930 until 1960.

Piero Coppola

The Italian conductor Piero Coppola (1888–1971) studied piano and composition at the Milan Conservatory. He graduated in 1910 and, in 1911, was already conducting at La Scala. He is known for his recordings of Debussy and Ravel in the 1920s and 1930s, including the first recordings of Debussy’s La Mer and Ravel’s Boléro, with his Debussy recordings being praised as ‘close to Debussy’s thoughts’. From 1923 to 1934, he was the artistic director of the recording company La Voix de son Maître, the French branch of The Gramophone Company, under whose name this recording was made.

The Orchestre des Concerts Pasdeloup, founded in 1861 by Jules Pasdeloup, is the oldest symphony orchestra in France. They scheduled their concerts for Sundays to catch concert-goers who weren’t able to make evening concerts. It started out with the name of Concerts Populaires and ran until 1884. It was started up again in 1919 under Serge Sandberg as the Orchestre Pasdeloup.

Performed by

Henry Merckel
Piero Coppola
Orchestre des Concerts Pasdeloup

Recorded in 1935