Overview
Introduction
The four valses-caprices are not a cycle, but rather two sets of two, the first from Fauré's early period and the second from his middle period. Morrison calls all four "more 'caprice' than 'waltz'", and comments that they combine and develop the scintillating style of Chopin and Saint-Saëns waltzes.They show Fauré at his most playful, presenting variations before the theme is heard and darting in and out of unexpected keys.Aaron Copland, though generally a keen admirer of Fauré's music, wrote, "the several Valses-Caprices,in spite of their admirable qualities, seem to me essentially foreign to Faure's esprit. His is too orderly, too logical a mind to be really capricious."Cortot, by contrast, spoke approvingly of their "sensual grace ... perfect distinction ... impassioned tenderness."
- Valse-caprice No 1 in A major, Op 30 (1882); and
- Valse-caprice No 2 in D♭major, Op 38 (1884):
Chopin's influence is marked in the first two pieces. Orledge observes that the right-hand figuration at the end of No 1 is remarkably similar to that at the end of Chopin's Waltz in E minor.In No 2 Nectoux detects the additional influence of Liszt (Au bord d'une source) in the opening bars.In the closing bars of No 2, Orledge finds a resemblance to the end of Chopin's Grande Valse Brillante, Op, 18.
- Valse-caprice No 3 in G♭major, Op 59 (1887–93); and
- Valse-caprice No 4 in A♭major, Op 62 (1893–94):
Orledge writes that the second two valses-caprices are subtler and better integrated than the first two; they contain "more moments of quiet contemplation and more thematic development than before." There still remain touches of virtuosity and traces of Liszt, and these two valses-caprices are, in Orledge's words, the only solo pieces in the middle period to end in a loud and spectacular manner.No 3 is dedicated to Mme. Philippe Dieterlen, No 4 to Mme. Max Lyon.
