Faure Cantique de Jean Racine Op. 11 for String Quartet

Fauré's Cantique de Jean Racine is one of the most beautiful pieces in the French choral repertoire, and it translates naturally to string quartet. Originally written for four-part choir and organ, the vocal lines map directly onto the four string instruments, giving each player a melodically significant part rather than a supporting role.

The character of the piece is contemplative and unhurried: a flowing melody over a gently moving harmonic accompaniment, building to a warmth of sound that suits the string quartet particularly well. Fauré wrote it as a student, but the harmonic language is already distinctively his — wait, no em dashes.

The character of the piece is contemplative and unhurried: a flowing melody over a gently moving harmonic accompaniment, building to a warmth of sound that suits the string quartet particularly well. Fauré wrote it as a student, but the harmonic language is already distinctively his, with that quality of gentle resignation and lyrical beauty that the quartet texture carries easily. The four parts interweave throughout, and playing it well is as much about listening across the ensemble as it is about any individual part.

At four to five minutes, it works well as a standalone piece or within a longer programme. The sacred character makes it a natural choice for church concerts, weddings, and memorial services, and it sits equally well in a chamber recital alongside other French or Romantic repertoire.

See and hear the difference

Check the score and parts preview images above, then watch the complete score video below. They'll give you a clear picture of the engraving quality before you buy.

Key features

• Instrumentation: String Quartet (Violin I, Violin II, Viola, Cello)
• Duration: approximately 4–5 minutes
• Format: PDF download, full score and all four parts

Who it's for

This suits string quartets looking for a well-known, expressive piece that works in both concert and ceremonial settings. It is practical for church concerts, weddings, and memorial services where sacred repertoire is wanted, and for chamber recitals where a lyrical, reflective piece provides contrast within a programme.