French influence on American twentieth-century music has long been central to historical narratives, particularly in relation to Nadia Boulanger and her pupils from the 1920s onward. Yet the much earlier impact of Gabriel Fauré (1845–1924), Boulanger's own teacher, has been largely ignored. While most American audiences around the turn of the century were largely unfamiliar with Fauré, Boston embraced his music enthusiastically. By the 1890s, a growing Francophile aesthetic reflected in the city's musical life encouraged performances of French repertoire, and a remarkable number of Fauré's compositions were introduced, some heard frequently enough to become well known to local audiences. Many of Boston's most influential critics, educators, performers and patrons admired Fauré and advocated for him as a representative modern French composer. That his music was so warmly welcomed in Boston at the end of the nineteenth century without any overt self-promotion by the composer has not been widely known until now. Although Fauré never visited the United States, his music found a home away from home in Boston, both while he was still living and well beyond.

长期以来，法国对美国 20 世纪音乐的影响一直是历史叙事的核心，特别是与 1920 年代以后的 Nadia Boulanger 和她的学生有关。然而，布朗热自己的老师加布里埃尔福雷（1845-1924）的早期影响在很大程度上被忽视了。虽然世纪之交的大多数美国观众对福雷并不熟悉，但波士顿却热情地接受了他的音乐。到 1890 年代，反映在城市音乐生活中的日益增长的亲法美学鼓励了法国曲目的表演，并且引入了大量福雷的作品，其中一些经常被当地观众所熟知。许多波士顿最有影响力的批评家、教育家、表演者和赞助人都钦佩福雷，并拥护他为代表现代法国作曲家。他的音乐在 19 世纪末在波士顿受到如此热烈的欢迎，而作曲家没有任何公开的自我推销，直到现在才广为人知。尽管福雷从未访问过美国，但他的音乐在波士顿找到了一个家外之家，无论是在他还活着的时候还是在远方。