The following Fauré Critical editions and transcriptions by Roy Howat are published by Peters Edition (London):

New: 13 Barcarolles for piano. EP 71904

This new edition corrects dozens of misleading errors (and countless more minor ones) in older editions, some of which bear importantly on tempo, structure and musical continuity, as well as casting new light on the magnificent Fifth Barcarolle.

13 Nocturnes for piano. EP 7659

This incorporates literally hundreds of corrections never before printed, many from Faurés own pen, including 20 corrections on the first page of the First Nocturne alone.

It is hard to offer sufficient praise and gratitude to both Roy Howat and Peters Edition for their superlative, much-needed new edition of Faurés13 Nocturnes – Murray McLachlan in International Piano

Thème et variations for piano, op. 73. EP 7956

This new critical edition, based on eight important sources (six of them missed by a recent Henle edition), solves longstanding problems of tempo and structural coherence and offers hitherto unpublished variants indicated by Fauré to pianist colleagues.

Pièces brèves op. 84 (8 pieces) for piano. EP 7601

These enchanting and masterly short pieces, on a par with the late piano pieces of Brahms or Schubert, are an ideal introduction to Fauré, technically less demanding than the Nocturnes or Barcarolles (though they do pose a few enjoyable challenges, notably no. VII).

3 Romances sans paroles op. 17 for piano. EP 7711

which Marcel Proust loved and about which he once said something unprintably naughty

Anthology of Pieces for Cello and Piano (Fauré's complete pieces for accompanied cello), 8 pieces including two first publications. EP 7571

Anthology of Selected Pieces for Flute and Piano, 2 original pieces and 8 new transcriptions, including several first publications. EP 7514

Anthology of Pieces for Violin and Piano (Fauré's complete pieces for violin & piano), 4 pieces, 1 in a first edition. EP 7515

Sonata no. 1 in A major, op. 13, for violin and piano. EP 7487

Incorporates hundreds of previously unpublished corrections, including Fauré's violin writing before some passages were overwritten with virtuoso figurations by Hubert Léonard. More details can be read in the volumes preface or in Roys article in The Strad, March 1998.

Dolly op. 56, suite for piano duet. EP 7430

Roy Howat has dug deeply and productively into the sources and produced a text of exemplary clarity. Buy it, play it, enjoy it and throw your old copy away John York in Classical Piano

Also available in transcription for solo piano by Roy Howat: EP 7384

Pavane, op. 50, in transcriptions for:

  • Flute, 2 singers and piano. EP 7526
  • Solo piano, arr. Roy Howat and Wendy Hiscocks. EP 7383
  • Flute and piano, in Anthology of Selected Pieces for Flute and Piano (see above)

These editions take account of Sir Adrian Boult's memories:

I heard Fauré play the Pavane several times, with distinguished soloists like Gervase Elwes and Murray Davey, with Mrs George Swinton and others, and once Louis Fleury played the flute sitting by the composer and playing the tune from his piano copy. I will stake a good deal on the statement that Fauré played the Pavane no slower than crotchet [quarter] = 100! (letter to Robert Orledge, 1975).

Après un rêve, arranged for cello or viola or violin and piano. EP 7481.

Sicilienne, op. 80, arranged for violin or viola and piano. EP 7386

Sicilienne, op. 80, arranged for flute and piano in Anthology of Selected Pieces for Flute and Piano

'Berceuse' from Dolly ('La Chanson dans le jardin') arranged for violin and piano. EP 7624

Next to appear:

Vol. 1 (34 songs, up to op. 27) in the new Peters edition of Fauré's songs, co-edited with Dr Emily Kilpatrick, an interactive project based at the Royal Academy of Music with research funding from the Arts and Humanities Research Council


Separate from the above Peters editions:

Piano Quintet no. 1 in D minor, op. 89. Editions Hamelle, Paris, 2006 (UK distribution by United Music Publishers).

This new edition solves serious problems that have left a great masterpiece largely neglected for more than 80 years.  The main solution, a radical reappraisal of tempi suggested by source evidence, was tested in concert by Roy Howat with Prague's legendary Panocha Quartet at festivals in Japan and the Czech Republic and at a sold-out Wigmore Hall in November 2005; played thus, the work is now again bringing the house down as it did at its 1906 Parisian premiere.