Even though Gabriel Fauré's contemporaries championed his music as quintessentially French, Fauré distanced himself from policies of national exclusion in art, and his own construction of French musical style was cosmopolitan. This essay summarizes Fauré's political choices during the Great War, explains his motives, and indicates how some of his decisions affected French musical life. Fauré's outspoken preface to Georges Jean-Aubry's La Musique française d'aujourd'hui provides one key to the composer's position. Jean-Aubry, following Debussy, reckoned as authentically French only musical styles attached to pre-Revolutionary traditions. Fauré felt that such a narrow characterization of French music falsified the diversity of the historical record. His preface therefore takes issue with Jean-Aubry's book and insists that German composers had played an irrefutable role in the formation of modern French music. We may understand Fauré's-and other composers'-wartime decisions in terms of a distinction between patriotism and nationalism. Composers such as Fauré, Bruneau, and Ravel emerge as patriots. Debussy, who sought to purify French music of foreign contamination, emerges as a nationalist. Both nationalism and patriotism call on collective memory and experience, but nationalism exercises its power protectively and tends toward exclusion, while patriotism, favoring political over ethnic determination, tends toward inclusion. Fauré's patriotism emerges through the evidence of the preface; charitable activities; his refusal to sign a French declaration calling for a ban on contemporary German and Austrian music; and his attempt to unite the Société Nationale and the Société Musicale Indépendante. Fauré's wartime music, in contrast to his writings and activities, evades connections with historical events and raises methodological questions about perceived relations between political belief and artistic expression.
