Professor of Musicology Carlo Caballero remembers when he fell in love with the music of Gabriel Faur茅 (1845-1924): 鈥淚t was when I heard his 鈥楻equiem鈥� as an undergrad at Pomona College [in southern California].听
鈥淚 was so taken by the harmonies and I started looking at scores. I didn鈥檛 realize then that my career would become centered on Faur茅.鈥�
Pursuing a PhD at the University of Pennsylvania, Caballero鈥檚 graduate dissertation was on Faur茅. From there, his love and admiration for the Frenchman鈥檚 music continued to grow. He鈥檚 since written books about Faur茅 and edited critical editions of the composer鈥檚 two piano quintets for 鈥淭he Complete Works of Gabriel Faur茅.鈥� Yes, he鈥檚 also published studies on ballet music of the 19th and 20th centuries, and social continuities in French music from the 18th to the 20th centuries. But one composer remains close to his heart and his academic pursuits. Particularly these days.听鈥�
This year marks a milestone for Caballero who鈥攁long with his academic partner Stephen Rumph, professor of music history at the University of Washington鈥攚ill co-host the in 麻豆影院, Feb. 27-March 3. comprising this major, global gathering of CU 麻豆影院 faculty and student musicians alongside panelists from France, Canada, Israel, Brazil, the United Kingdom and the United States are free and open to the public although听 is appreciated from those who plan to attend the conference.听
Self-caricature by Gabriel Faur茅鈥攗nder his signature at the end of a letter to Elizabeth Swinton鈥攃irca 1898. Private archive, with permission.Before enumerating the impressive number of papers to be presented, concerts to be held and new works to be premiered, Caballero shares how the whole project began. 鈥淚 visited Stephen in Seattle in the summer of 2021,鈥� he recalls. The two men had worked together previously, co-editing 鈥淔aur茅 Studies鈥� for Cambridge University Press. 鈥淲e were strolling on the beach鈥攖alking about how 2024 was the 100th anniversary of Faur茅鈥檚 death鈥攁nd Stephen said, 鈥榃hy don鈥檛 we do a festival?鈥� That鈥檚 how it all started.鈥澨�
In retrospect, Caballero points out, Rumph鈥檚 casual suggestion proved advantageous. Getting the ball rolling, and planning听and sending out all the invitations and calls for papers so early, resulted in strong interest and a healthy number of acceptances.
There was much to do in the months that followed: Grants to write and submit, campus facilities to secure and鈥攈ere鈥檚 a surprise鈥攃omposers to commission. 鈥淭he [including on Feb. 27] will offer a kaleidoscopic experience, not just a look back,鈥� Caballero explains. In addition to chamber music by Faur茅 in diverse instrumentations, the festival will feature works by his contemporaries鈥攍ike Maurice Ravel, Mel Bonis and C茅cile Chaminade鈥攁s well as nine new commissions by both professional composers and students.
鈥淚t was Stephen鈥檚 idea to connect these new works to the legacy of Faur茅, but in the composers鈥� own style,鈥� says Caballero, who further notes that will be presented as part of the festival, including one of his own鈥斺�淭he Smith鈥檚 Harmonic Forge: Voice-Leading in the First Movement of Faur茅鈥檚 Second Piano Quartet.鈥澨�
Caballero is optimistic that the Faur茅 Centennial 鈥婩estival will continue to raise appreciation of Faur茅鈥檚 music. For him, the attraction is singular: 鈥淢y academic career is fueled by the beauty of his music.鈥澨�
The Faur茅 Centennial 鈥婩estival鈥攈eld on campus at the Imig Music Building and Macky Auditorium, and at 麻豆影院鈥檚 First Congregational Church鈥攊s supported by the Dr. C. W. Bixler Family Foundation,听the CU 麻豆影院 College of Music, the Center for Humanities & the Arts and the Research & Innovation Office.听
