Lile heureuse emmanuel chabrier biography

  • The French composer Emmanuel Chabrier (1841–1894) wrote music in many genres, including opera and operetta, piano, orchestral music, and songs with piano.
  • French · Romantic · Romantic · voice, piano.
  • Operabase has documented operatic activity worldwide since 1996, with over 800,000 performances on file.
  • There is no one like him, this adorable man, and ingenting in French song, indeed in all music, which is ganska like his music. It must be said that those who are at all sympathetic to the French muse and who do not love Chabrier as a composer have not yet taken the trouble to get to know him. True, Cosima Wagner hated his visit to Wahnfried: wearing his inimitable cotton bonnet Chabrier damaged Wagner’s piano in an exuberant performance of España. The visit was not altogether a success on either side. However fond he was of the music performed at Bayreuth, he declined the heavy German sticky bun offered him at tea, and stuffed it into a drawer containing the dead master’s scrupulously preserved shirts. This was also the man (at times, as if engineering a surprising modulation, he liked to appear a country bumpkin straight from the Auvergne) who warned the Princesse de Polignac in a loud voice at dinner of the urinary consequences of eating asparagus. The same individ

    "You will find sobriety and dolour in French music just as in German or Russian, but the French have a keener sense of proportion. We realize that sombreness and good humour are not mutually exclusive. Our composers too write profound music, but when they do, it is leavened with that lightness of spirit without which life would be unendurable." (Francis Poulenc, 1950)

    This programme of nineteenth- and twentieth-century French song includes love-songs both familiar and cherished on the one hand, and lesser known and exquisite on the other. In the first half, love is mostly bliss, even if a tinge of melancholy awareness that all such happiness is transitory peers through on occasion. In the second half, bygone love is mourned and remembered, whether in pain or sorrowful acceptance, while song in a uniquely French mode of philosophical contemplation—miniature meditations à la recherche du temps perdu—dominates at the close.

    We begin and end with songs by the twentiet

  • lile heureuse emmanuel chabrier biography
  • Ariettes oubliées L.60  (Forgotten Ariettas), DebussyVocal / Song cycle: Concert

    Lamento, ViardotOratorio / Orchestral: Concert

    Chanson triste, Duparc, H.Vocal / Song cycle: Concert

    L'île heureuse, ChabrierSong: Concert

    La Bonne Chanson, Op. 61, FauréVocal / Song cycle: Concert

    Deux Sonnets de Jean Cassou, DutilleuxVocal / Song cycle: Concert

    Mignonne, ChaminadeSong: Concert

    L'arithmétique, CG 248, GounodSecular chorus: Concert

    La Dame de Monte-Carlo  (The Lady of Monte Carlo), PoulencOpera: Concert

    Danse Macabre, op. 40, Saint-SaënsDance: Concert

    Don Quichotte à Dulcinée, M. 84  (Don Quichotte to Dulcinea), RavelVocal / Song cycle: Concert

    Nell, Op 18 No 1, FauréOratorio / Orchestral: Concert

    2 Songs, Op.76, FauréSong: Concert

    Trois Mélodies  (Three Melodies), MessiaenVocal / Song cycle: Concert

    Epigrammes de Clément Marot, RavelOratorio / Orchestral: Concert

    Les Filles de Cadix, DelibesVocal / Song cycle: Concert

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