When Gabriel Fauré (1845–1924) became a ‘regular’ at the Parisian salon of opera legend Pauline Viardot in 1871, he encountered businessmen and politicians in addition to aristocrats and socialites, plus artists and authors as well as amateur musicians and professional peers. Encouraged by Madame Viardot and inspired by her ‘artistic salon’, Fauré produced sophisticated works with stylistic duality: music that appealed to and satisfied both intuitive and analytic listeners.

This essay examines three of Fauré's compositions that feature stylistic duality, each dedicated to a member of the Viardot family. These include two early mélodies, ‘Chanson du pêcheur (Lamento)’ (1872) and ‘Au bord de l'eau’ (1875), plus the Romance pour violon (1877). It demonstrates that these pieces, which sought to engage a diverse audience and involve each member in an individualized and interactive aesthetic experience, reveal considerable sophistication below their immediately attractive surfaces. This article also avers that abandonment of misconceptions and prejudices is essential to full appreciation of Gabriel Fauré's refined and innovative art.

1871 年，加布里埃尔·福雷（Gabriel Fauré，1845-1924 年）成为歌剧传奇人物 Pauline Viardot 巴黎沙龙的“常客”，除了贵族和社会名流之外，他还遇到了商人和政治家，还有艺术家和作家以及业余音乐家和专业同行。在维亚尔多夫人的鼓励和她的“艺术沙龙”的启发下，福雷创作了具有风格二元性的精致作品：吸引并满足直觉和分析听众的音乐。

本文探讨了福雷的三首具有风格二元性的作品，每首作品均献给维阿尔多家族的一位成员。其中包括两首早期旋律“ Chanson du pêcheur ( Lamento )”(1872) 和“ Au bord de l'eau ”(1875)，以及“小提琴浪漫曲” (​​1877)。它表明，这些作品旨在吸引不同的观众，并使每个成员参与个性化和互动的审美体验，在其立即吸引人的表面下揭示了相当复杂的内容。本文还指出，放弃误解和偏见对于充分欣赏加布里埃尔·福雷精致而创新的艺术至关重要。