Drawing on recent scholarship (Kelly, Pasler, Wheeldon, Fauser) examining the discursive construction of the reputations of well-known Belle-Époque musicians, this article investigates the case of Gabriel Fauré and the ways in which his posthumous legacy was shaped throughout the 1920s in France. Drawing on wide-ranging journalistic and biographical sources, the article argues that the figure of Fauré was increasingly constructed around the concept of the ‘classic’ in the years immediately following his death in 1924. I suggest that the types of ‘classicism’ associated with Fauré in this context were, however, multivalent and largely contingent on the cultural and aesthetic mandates of those ‘reputational entrepreneurs’ that sought to advocate in favour of his posthumous legacy. This article thus examines the notion of Fauré ‘the classic’ as it was discursively constructed in three specific instances: by the French Republic in its State funeral for the composer; by the young post-war generation of composers (especially Georges Auric of the group Les Six), and by the composer, former student, and biographer of Fauré, Charles Koechlin. These cases reveal that Fauré's classicism was articulated in contrasting ways, ranging from a heroic classicism associated with the celebration of national ‘great men’, an aesthetic classicism linked to French musical traditions, or, finally, a classicism derived from the aesthetics and culture of Ancient Greece.

本文利用最近的学术研究（凯利、帕斯勒、惠尔顿、福瑟）研究了著名的美好时代音乐家声誉的话语建构，调查了加布里埃尔·福雷的案例以及他死后遗产在整个 1920 年代形成的方式在法国。文章利用广泛的新闻和传记资料，认为福雷的形象在他 1924 年去世后的几年里越来越多地围绕“经典”的概念构建。我认为与然而，在这种情况下，福雷是多面的，并且很大程度上取决于那些试图倡导支持他死后遗产的“声誉企业家”的文化和审美使命。因此，本文考察了福雷“经典”的概念，因为它是在三个特定情况下以话语方式构建的：法兰西共和国在为作曲家举行的国葬中；由战后年轻一代作曲家（尤其是 Les Six 乐队的 Georges Auric）和福雷的作曲家、前学生和传记作者查尔斯·科奇林（Charles Koechlin）创作。这些案例表明，福雷的古典主义是以不同的方式表达的，从与庆祝民族“伟人”相关的英雄古典主义到与法国音乐传统相关的美学古典主义，或者最后是源自法国美学和文化的古典主义。古希腊。由战后年轻一代作曲家（尤其是 Les Six 乐队的 Georges Auric）和福雷的作曲家、前学生和传记作者查尔斯·科奇林（Charles Koechlin）创作。这些案例表明，福雷的古典主义是以不同的方式表达的，从与庆祝民族“伟人”相关的英雄古典主义到与法国音乐传统相关的美学古典主义，或者最后是源自法国美学和文化的古典主义。古希腊。由战后年轻一代作曲家（尤其是 Les Six 乐队的 Georges Auric）和福雷的作曲家、前学生和传记作者查尔斯·科奇林（Charles Koechlin）创作。这些案例表明，福雷的古典主义是以不同的方式表达的，从与庆祝民族“伟人”相关的英雄古典主义到与法国音乐传统相关的美学古典主义，或者最后是源自法国美学和文化的古典主义。古希腊。