French composer. At age 9 he/she was awarded a scholarship to study at the school of music classical and religious founded by Niedermeyer in Paris. In this center he/she spent eleven years and prepared for master of Chapel and organist. The teachings of the school explain his taste for the classics and Renaissance musicians. After the death of Niedermeyer he/she spent studying piano with Saint-Saëns, who taught him the works of Schumann, Liszt and Wagner. In this period of training created, among other pieces, Le Papillon et fleur (1860) and Trois romance sans parole (1863). In 1886, he/she began his career as an organist in the Church of St-Sauveur de Rennes. During the following years he/she was church musician (Notre - Dame de Clignancourt, St. Honoré Eylau and St-Sulpice), which at the same time worked as a tutor of music. In 1877 he/she was appointed choirmaster at the Church of la Madelaine (where in 1896 became owner of the great organ), and became professor at the Niedermeyer school. Until then his compositional work was not very extensive, including pieces such as Suite d'Orchestre (1874), his first masterpiece first Sonate for violin and piano (1876), and twenty melodies created prior to 1875.
In 1879 he/she began a period of most fertile creation and over the following 20 years he/she composed all the works that have brought him fame: Ballade for piano and Orchestra (1881), the three first Impromptus (1882-1883), the first six Barcarolles (1882-1895), the first seven Noctures (1883-1897), the second Quotuor with piano in g minor (1886), Requiem (written in 1887-1888(, after the death of his father, which signaled the renewal of French religious music), the five melodies on poems by Verlaine calls "Venice" (1891), La Bonne Chanson (1892-1893), work in their production, Theme et variations (1897) and the stage music of Pelléas et Melisandre (1898). Shortly before 1900 was tasked to compose the music for the lyric tragedy Prométhée, although its theatrical experience had been limited (Caligula, in 1888; Shylock, in 1889, and Pelleás et Melisandre).
In the last years of the 19th century ascended in his official career: in 1892 he/she was appointed inspector of the conservatories of provinces, in 1896 replaced Dubois in the great organ of the Madelaine and Massenet as Professor of composition at the Conservatoire de Paris, Centre which runs between 1905 and 1920, after happen to Dubais. From 1903 to 1913 was music critic in the Figaro. In 1909 he/she was appointed academic of fine arts.
All these successes had its downside: auditory disorders that Faure was suffering from 1903 and increased sclerosis. This deficiency prevented him to hear sounds and is the cause that has been attributed to the constant changes that are perceived in their latest compositions.
From 1903 he/she resumed the first Quintet for piano and string (1906), the work that had been left unfinished a decade earlier. From 1907 to 1913 he/she wrote the opera Penelope and worked on several pieces for piano and a cycle of melodies. After this opera, it mainly produced intimate works, among which are several of his masterpieces, whereas the creator of French Chamber music. At this time he/she composed Le jardin clos (1914-1915); L'Horizon chimerique (1921), the 11, 12 and 13 Nocturnes (1913, 1915 and 1921), the 11, 12 and 13 Barcarolles (1914, 1915 and 1921), mirages (1919), the second Sonata for violin and piano (1916), two Sonates (1917 to 1921) for cello and piano, the 2nd Quintette (1919-1921), the Trio (1923) and Quatuor à cordes (1924).