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Though trained at Louis Niedermeyer’s École

de Musique Classique et Religieuse, and long

known as a church musician, notably at the

Madeleine, Gabriel Fauré did not write a single

page of music for the organ, an instrument

he played almost every day. As a pianist,

eyewitnesses tell us, he was remarkable;

moulded by his teacher and friend Camille

Saint-Saëns, his playing was characterised by

depth of touch, regularity of tempo, attention

to the bass register, and the absence of all

outward effect: musical par excellence.