The works of French composer Gabriel Faure (1845-1924) straddle the Romantic and Modern eras of classical music, anticipating the 20th century with some measure of tonal freedom. A gifted pianist and organist who studied at the École Niedermeyer under Saint-Saens, he was also an expert on the French melodie, and wrote many song cycles for voice. As both Professor of Composition, and director of the Paris Conservatoire from 1905-1920, he had opportunity to interact with the growing department of harpists at the school, such as harp professor Alphonse Hasselmans and his exceptional student, Micheline Kahn (to whom Une Chatelaine en sa tour was, in fact, dedicated.)
The title, translated to “A Lady in her castle tower,” comes from the line of French poem on which the piece is based, Une Saint en son aureole (A Saint in her halo). This poem was part of a song cycle set by Gabriel Faure to nine poems of one of his favorite writers, Paul Verlaine. The song cycle, La Bonne chanson, was completed in 1893, but the solo version of the eighth poem was not adapted for harp until 1918. The form could be loosely called ABAA’, with the last A section ending in the parallel major key of A minor. The first notes of the melody sets the stage for the piece, presenting a solemn theme enhanced by leading-tone chromaticism. Next comes a section of running 16th notes that transpose a motif through C minor, F# minor, and Bb minor before returning to A minor. A transitional section in duple/triple rhythm leads to a swelling F major melody also in duple rhythm, while left hand carries the harmony in 16th notes still in the original triple meter. The theme of the tonic minor key is then sounded creatively in 3/4 rather than the initial 9/8 meter; and after a couple graceful glissandos, the melody is set for the final time to A major, tenderly voiced in left hand harmonics. Faure’s ingenuity is heard in the way themes are laid against each other with order, while never being too rigid for echoes of a theme to sound in surprising places, or rendered in new rhythms and keys. The fact that this highly chromatic piece was adapted for the pedal harp is a miracle in and of itself!

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