Sets of his major orchestral works have been recorded under conductors including Michel Plasson (1981) and Yan Pascal Tortelier (1996). Fauré's main chamber works have all been recorded, with players including the Ysaÿe Quartet, Domus, Paul Tortelier, Arthur Grumiaux, and Joshua Bell. The complete piano works have been recorded by Kathryn Stott (1995), and Paul Crossley (1984–85), with substantial sets of the major piano works from Germaine Thyssens-Valentin,  (Jean-Philippe Collard (1982–84), Pascal Rogé (1990), and Kun-Woo Paik (2002). Fauré's songs have all been recorded for CD, including a complete set (2005), anchored by the accompanist Graham Johnson, with soloists Jean-Paul Fouchécourt, Felicity Lott, John Mark Ainsley and Jennifer Smith, among others. The Requiem and the shorter choral works are also well represented on disc. "Pénélope" has been recorded twice, with casts headed by Régine Crespin in 1956, and Jessye Norman in 1981, conducted respectively by Désiré-Émile Inghelbrecht and Charles Dutoit. "Prométhée" has not been recorded in full, but extensive excerpts were recorded under Roger Norrington (1980). A 2001 article on Fauré in "Baker's Biographical Dictionary of Musicians" concludes thus: Fauré's biographer Nectoux writes in the "Grove Dictionary of Music and Musicians" that Fauré is widely regarded as the greatest master of French song, and that alongside the "mélodies", the chamber works rank as "Fauré's most important contribution to music". The critic Robert Orledge writes, "His genius was one of synthesis: he reconciled such opposing elements as modality and tonality, anguish and serenity, seduction and force within a single non-eclectic style, as in the "Pelléas et Mélisande" suite, his symphonic masterpiece. The quality of constant renewal within an apparently limited range ... is a remarkable facet of his genius, and the spare, elliptical style of his single String Quartet suggests that his intensely self-disciplined style was still developing at the time of his death".