¹ Robert Schumann: Thematisch-bibliographisches Werkverzeichnis, 2 vols, ed. Margit McCorkle (Mainz: Schott, 2003).

² Felix Mendelssohn-Bartholdy: Thematisch-systematisches Verzeichnis der Musikalischen Werke, ed. Ralf Wehner (Wiesbaden: Breitkopf & Härtel, 2009).

³ Ludwig van Beethoven: Thematisch-Bibliographisches Werkverzeichnis, ed. Kurt Dorfmüller, Norbert Gertsch, Julia Ronge and Gertraut Haberkamp (München: G. Henle Verlag, 2014).

⁴ Camille Saint-Saëns 1835–1921: A Thematic Catalogue of his Complete Works, Volume 1: The Instrumental Works, Volume 2: The Dramatic Works, ed. Sabina Teller Ratner (Oxford: Oxford University Press, 2002, 2012).

⁵ Britten Thematic Catalogue Beta Version (2013), Lucy Walker, Research Officer, Britten-Pears Foundation, www.brittenproject.org (accessed 30 July 2019).

⁶ Orledge, Robert, Gabriel Fauré (London: Eulenburg Books, 1979)Google Scholar and Nectoux, Jean-Michel, Gabriel Fauré: A Musical Life, translated by Roger Nichols (Cambridge: Cambridge University Press, 1991)Google Scholar.

⁷ Camille Clerc (1828–1882) was a friend of Fauré, and an advocate for his music during this period.

⁸ Belgian violinist Hubert Léonard (1819–1890) was the dedicatee of Fauré's 1^re Quatuor pour piano et cordes, op. 15 (1876–79; 1883).

⁹ English translations drawn from the French commentary are mine.

¹⁰ Gabriel Fauré, Requiem, op. 48 (1900 version), edited by Stegemann, Michael and Stahl, Christina M., Gabriel Fauré Œuvres complètes, Série I, vol. 2 (Kassel: Bärenreiter, 2011)Google Scholar.

¹¹ Nectoux, ‘Chronological Catalogue of Fauré's Works’, in Gabriel Fauré: A Musical Life, 528.

¹² In the catalogue, N 11 is assigned to the similarly named Cantique à Saint Vincent de Paul, 1868. It appears directly after a piano solo (Mazurka pour piano, N 8) and two mélodies (Tristesse d'Olympio, N 9, and Dans les ruines d'une abbaye, op. 2, no. 1, N 10), all dated c. 1865.

¹³ Claire Croiza (1882–1946) was a well-known interpreter of Fauré's mélodies; having worked closely with the composer (including their 1915 premiere of his song cycle, Le jardin clos, op. 106), her words are often invoked concerning performance practice of his vocal music.

¹⁴ For instance, American composer Ned Rorem (b. 1923), newly impassioned by recordings of Fauré's mélodies, humbly confessed to having earlier dismissed his music. See Rorem, Ned, ‘Fauré's Songs’, in Setting the Tone (New York: Coward-McCann, 1983), 247–50Google Scholar.

¹⁵ Gabriel Fauré, Shylock, op. 57; Pelléas et Mélisande, op. 80, Pénélope: Prelude, Masques et Bergamasques, op. 112, edited by Tait, Robin, Gabriel Fauré Œuvres completes, Série IV (Kassel: Bärenreiter, 2015)Google Scholar. See my review in Nineteenth-Century Music Review 15/2 (2018): 305–8.

¹⁶ I did find that one link given for Pelléas (MS 17763, p. 274) leads instead to Fauré's Caligula, op. 52 (MS 17663, p. 183). This is easily explained by the close numeric content between the two manuscripts (in fact, the same link is given correctly for Caligula). While it is possible that similar instances will be found, this appears to be an anomaly, as a sampling of other entries throughout the catalogue confirms their accuracy.

¹⁷ Robert Schumann: Thematisch-bibliographisches.

¹⁸ Nectoux, Jean-Michel, ‘Fauré, Gabriel’, Grove Music Online, Oxford Music Online, www.Oxfordmusiconline, updated works list October 2001 (accessed 1 July 2019).