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1077:, doing my best to perform all the indications marked with the greatest precision... and there are many of them! In rehearsal, which was at Pleyel's, Chabrier stopped me dead in the midst of the first waltz, and, addressing me a look that was both amazed and arch, said: "But my dear boy it's not that at all!..." And, as not quite knowing how to react, I asked for explanations, he retorted: "You play that as if it were music by a Member of the Institute!..." And then I had a marvellous lesson in playing
995:, to another libretto by Mendès. Mortally ill, Chabrier could only complete the first of the projected three acts, and the remaining sketches were too inconclusive for any of his colleagues to attempt a completion. It was to have been a romantic tragedy, set in Corinth during time of the Roman Empire. The existing act is rarely staged, but a recording of a concert performance in 1994 has been issued on CD. Poulenc was unimpressed by the libretto, but Messager thought the music of
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487:; he wrote to the personnel director at the ministry saying he had to go to Bordeaux on private matters, but in confidence confessed that for ten years he had wanted to see and hear Wagner's opera, and promised that he would back at his desk the following Wednesday. D'Indy, who was among the group, recorded that Chabrier was moved to tears at hearing the music, saying of the prelude, "I have waited ten years of my life to hear that A in the cellos".
663:, with Frans Durif and Thierry Bodin, produced a 1,300 page edition of the composer's correspondence, containing 1,149 letters, ranging from those to his family and Nanine, exchanges with contemporary friends in the musical world (sometimes with musical quotations), negotiations with publishers, and one a commiseration with his son André on the death of his pet bird (with gentle reproach for having over-fed the creature).
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82:), songs, and piano music, but no symphonies, concertos, quartets, sonatas, or religious or liturgical music. His lack of academic training left him free to create his own musical language, unaffected by established rules, and he was regarded by many later composers as an important innovator and a catalyst who paved the way for French modernism. He was admired by, and influenced, composers as diverse as
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720:. His widow and children also suffered from probable infection: she had severe eye problems, becoming almost blind, and, after Chabrier's death, became paraplegic, dying aged 51; the eldest son, Marcel, died at 35 having also displayed related symptoms, and the second son, Charles, died after only five weeks, the youngest, André, also became paraplegic and died also aged 35.
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575:(1883), a mixture of popular airs he had heard and his own original themes. It was premiered under its dedicatee, Lamoureux, in November 1883. It met with what Poulenc calls "immediate and rapturous success", made Chabrier's reputation, and by public demand received multiple performances over the next months. Admirers included
1193:". The influence on Ravel is still more marked. In a 1975 study of the two composers, Delage wrote, "In truth there are few works by Ravel which do not to some extent echo one or another work of Chabrier and of which the harmonic procedures are not derived from him". Ravel paid explicit homage to Chabrier in his
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in its importance for French music. In his introduction to a 1995 edition of the piano works, Howat writes that it was
Chabrier, more than any other composer, who restored to French music "the essential French traits of clarity, emotional vitality, wit and tenderness" when other French composers were
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about a young couple seeking essential advice on their wedding night, received a single private performance in 1879, and was not performed in public until 1913. Forbes wrote in 1992, "Why this charming little work had to wait so many years for a public performance remains a total mystery. The subject
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through the painter
Alphonse Hirsch, whom he had got to know as a member of Manet's set. The opera was modestly successful, running for 48 performances in 1877, but was not revived in his lifetime. Nonetheless, it brought him to the attention of the press and attracted the publishing firm Enoch &
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paintings long before they became fashionable. A number of such paintings from his personal collection by artists known to him are now housed in some of the world's leading art museums. He penned a large number of letters to friends and colleagues which offer an insight into his musical opinions and
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in three acts (1877) was
Chabrier's first modestly successful opera, and is the most often revived. Although the plot was described by a reviewer in 2016 as "wilfully unfathomable and illogical", the libretto was professional and polished, in contrast with other libretti set by Chabrier. The critic
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Duparc and Ravel both had reservations about
Chabrier's skills as an orchestrator in his early works; Poulenc disagreed, feeling that Chabrier was a master of orchestration from an early stage. Poulenc wrote, "The fact that Chabrier always composed at the piano – as did Debussy and Stravinsky – did
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This event led
Chabrier to conclude that he must single-mindedly pursue his vocation as a composer, and after several periods of absence he left the Ministry of the Interior in late 1880. In a 2001 study, Steven Huebner writes that there may have been additional factors in Chabrier's decision: "the
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Johnson comments that although it now seems extraordinary that the owner of such magnificent works of art should have money worries, this was before
Impressionist paintings became sought-after and expensive, and "in any case, this was a composer who regarded his collection as a spiritual necessity
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Chabrier's ebullient orchestral works have always been popular with the public and critics, but there is less agreement about his serious stage works, and in particular the influence of the music of Wagner. For some critics, the
Wagnerian ethos and French sensibilities are simply incompatible, and
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Durosay or
Durozay. The Chabriers were of old Auvergne stock, originally of peasant origin (the surname comes from "chevrier" – goat-herd), but in recent generations merchants and lawyers had predominated in the family. A key member of the household was the boy's nanny Anne Delayre (whom he called
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commented that it lacked the verve and movement the composer needed; Poulenc was dismissive of "Mendès' ineptitudes … balderdash"; and another critic wrote in 1996, "Mendes's dramaturgy is not only painfully thin but takes a long time to get under way". Arnold and
Nichols comment that the work is
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family did not approve of a musical career for him, and he studied law in Paris and then worked as a civil servant until the age of thirty-nine while immersing himself in the modernist artistic life of the French capital and composing in his spare time. From 1880 until his final illness he was a
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and others. Johnson writes that
Chabrier's touch in these pieces is "deceptively light and restrained", but that the piano writing continually adds enormously to the charm of the music. A later group of songs (1889) with a linking theme is what Chabrier called his "poultry farm", to lyrics by
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write that Chabrier's lack of a formal musical education at one of the major conservatoires allowed him the freedom to "bypass the normal paths of French music of the 1860s, and to explore a new harmonic idiom and especially a novel way of writing for the piano". Chabrier's musical language
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for me. It sounded as if a hurricane had been let loose. He pounded and pounded the keyboard. was full of people, and they were listening, fascinated. When Chabrier reached the last crashing chords, I swore to myself I would never touch the piano again Besides, Chabrier had broken several
895:, but noting Chabrier's "un-Wagnerian concision", the retention of conventional self-contained numbers, and Chabrier's recognisable melodic and instrumental characteristics. He suggests that preoccupation with supposed derivativeness has deprived the repertory of works such as
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wrote of the music that "in full, rapturous cognizance of mature Wagner", Chabrier composed "great music ...such as the long solo and choral ensemble, 'Soyez unis', and all the love duet music, and there is more Frenchman than Wagner in them, above all in the final Liebestod".
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The musicologist David Charlton evaluated his influence by saying "While the musical language of Reyer, Massenet and Saint-Saens presented syntheses of current practice, that of Emmanuel Chabrier (1841–1894) was a catalyst: his work became the cradle of French modernism".
1104:– when he was about twenty-one; the first nine were written between 1862 and 1866. Johnson comments that it is strange that in all his songs Chabrier never set anything by his friend Verlaine, but among the well-known poets whose verse Chabrier set in the early songs were
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commented that it would be wrong to class Chabrier as merely an amateur in this period: "For, while in quest of the technique of his art, he displayed a curiosity in the painting and literature of the 'modernists' of his day that, among musicians, had few parallels."
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Tarnovsky advised Chabrier's parents that their son was talented enough to pursue a musical career, but Jean Chabrier was determined that his son should follow him into the legal profession. He moved the family to Paris in 1856, so that Chabrier could enrol at the
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Chabrier's early works were for piano solo, and in addition to a small corpus of about twenty completed mature works, some juvenilia have survived. Most of the piano pieces were published in the composer's lifetime, but five completed works and the unfinished
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considerably less Wagnerian than has often been supposed: "certainly the modal, asymmetrical, loosely articulated theme of the overture is individual to a degree". The music satisfied neither the pro- nor anti-Wagner lobby: Chabrier commented, "The
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felt that "if ever it could be reassembled would be rivalled, among collections of other composers, only by that of Chausson, which consisted largely of Delacroix". A sale of his collection at the Hôtel Drouot on 26 March 1896 included works by
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Girard, Jacques. Emmanuel Chabrier : d'Ambert à Paris. Champetières : Éd. de la Montmarie; : Parc Livradois-Forez, DL 2009, p248; in this chapter XXVIII Girard, a consultant in neuro-psychiatry, examines in detail Chabrier's
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has been denigrated; others have argued that Chabrier so transformed his influences that the music does not sound especially Wagnerian. Huebner puts the truth somewhere between the two, noting Wagner's influence in the similarities between
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was particularly strong, although the later composers were more often drawn to the humorous, parodic side of Chabrier's oeuvre than to the romantic and serious. Other French composers whose music shows the influence of Chabrier include
1418:(Dates 1819–1891), she became more than a servant to Chabrier's parents, and on their deaths in 1869 insisted on remaining as domestic to Emmanuel for no pay; she was nanny to his children, and a key link to his Auvergnat childhood.
1081:; contrary accents, pianissimi to the point of extinction, sudden fire-crackers bursting out in the middle of the most exquisite softness, and also indispensable gesturing, giving over the body, too, to the intention of the music".
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While striving for a staging of his opera Chabrier was also working on some of his mature songs – Sommation irrespectueuse, Tes yeux bleus, Chanson pour Jeanne, Lied, as well as a lyric scene for mezzo, women's chorus and orchestra
281:, with Verlaine and Lucien Viotti, was performed in March 1875 at the same club with Chabrier at the piano; five fragments survive. He did not set any poems by Villiers de L'Isle Adam or Verlaine, although the latter wrote a sonnet
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Debussy, Ravel and Poulenc all acknowledged Chabrier's influence on their music. Debussy wrote in 1893 "Chabrier, Moussorgsky, Palestrina, voilà ce que j'aime" – they are what I love, and said that he could not have written
966:(Opéra-Comique, 1887), "but unfortunately the work is saddled with one of the most complex and incomprehensible librettos of all time". Ravel so loved the piece that he said he would rather have written it than Wagner's
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wrote, "Though his arms were too short, his fingers too thick and his whole manner somewhat clumsy, he managed to achieve a degree of finesse and a command of expression that very few pianists – with the exception of
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201:. From there Chabrier went on to law school, but did not neglect music, continuing his studies in composition, violin and piano. After graduating from the law school in 1861 he joined the French civil service at the
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Ah! Chabrier, I love him as one loves a father! An indulgent father, always merry, his pockets full of tasty tit-bits. Chabrier's music is a treasure-house you could never exhaust. I just could not do without it.
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Chabrier left a rich and exuberant body of correspondence; Myers sees the "letter-writer's gift of spontaneous self-expression, with no undertones of insincerity or of writing for effect". He expressed himself in
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he ceased to be regarded as a talented amateur. The same year Saint-Saens gave the first public performance of his 1865 Impromptu, his first piano piece of real importance with his personal stamp of originality.
687:, "Never has an artist more loved, more tried to honour music than me, none has suffered more from it; and I will go on suffering from it for ever". He became obsessed with the composition of his final opera
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Roger Delage (translated by John Underwood). Essay accompanying Erato 4509 95309-2 : Emmanuel Chabrier – L'Oeuvre pour piano, Pierre Barbizet (with Jean Hubeau in piano four hands and two-piano works),
1443:, citing an earlier biographer of Chabrier, René Martineau, suggests that the run was deliberately curtailed by the theatre management to avoid costly royalty payments after notching 50 performances.
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introduced several striking features. Among them, Huebner singles out a liking for melodies of wide range with large leaps from one note to the next; frequent doubling of melodies by the bass or in
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in 1852 he studied at the Lycée imperial with a Polish musician, Alexander Tarnovsky . The earliest of Chabrier's compositions to survive in manuscript are piano works from 1849. A piano piece,
1502:"Dans Gwendoline, le livret conventionnel de Catulle Mendès, quoique fort inspiré de la forme wagnérienne, n'a pas fourni au musicien ce qui lui était propre : la verve et le mouvement."
267:, but abandoned it, after completing four numbers, in 1867. In December 1872 he scored a success at a private theatre club, the Cercle de l'union artistique with a three-act opérette bouffe
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and Munich expressed interest in both works and Chabrier made several happy trips to Germany as a result; his works were given in seven German cities. In July 1888 he was appointed as a
2035:, with introduction and notes by Federico Sopeña, translated by David Urman and J M Thomson. Marion Boyars, London & Boston, 1950, 1979, p95 (in Notes on Maurice Ravel, dated 1939).
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in Paris, and a favourable reception seemed to promise a successful run, but the theatre burned down after the third performance. Through Chabrier's friendship with the Belgian tenor
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is treated with the greatest delicacy… Musically, the piece is quite enchanting, in particular the central duet for the two high voices, while the bass has a fine comic number."
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Chabrier was an important influence on Debussy, as he was later on Ravel and Poulenc; Howat has written that Chabrier's piano music such as "Sous-bois" and "Mauresque" in the
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Chabrier was well regarded at the ministry, but his passion was music, to which he devoted his free time. He continued his studies, with teachers including Edouard Wolff (
683:, and depression about the neglect of his stage works in France. The death of his beloved "Nanine" in January 1891 greatly affected him. In 1892, he wrote to his friend
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Chabrier himself was frequently painted or sketched by his artist friends. Two of these portraits are reproduced above: a drawing of Chabrier at the piano (1887) by
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not prevent him from finding a rare orchestral colour: a unique achievement at a time when Franck, d'Indy and Saint-Saëns hardly ever emerged from well-worn paths".
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calls the score, "light as thistle-down … in the best tradition of Offenbachian opéra bouffe, with each singer perfectly characterized in his or her music".
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Most of the songs are for solo voice and piano, but there is one duet (the comic "Duo de l'ouvresse de l'Opéra-Comique", 1888) and in Chabrier's setting of
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In his final years, Chabrier was troubled by financial problems caused by the collapse of his bankers, failing health brought on by the terminal stage of
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as "a relentlessly ambitious member of the literary establishment". Mendès wrote texts that were set by at least seven French composers, including Fauré,
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estimates the date of Chabrier's piece as 1885–1886, and Fauré and Messager's as 1888 – but the original composition dates of both pieces are uncertain.
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Poulenc wrote of his first experience of the music, "Even today it makes me tremble with emotion to think of the resultant miracle: a whole universe of
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in 1891 (completed in 1994 by Robin Holloway) but his friend and champion Felix Mottl orchestrated it in 1898, proving popular; he did the same for
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rather than a financial asset". Chabrier was also a collector of avant-garde writing; as well as Verlaine, among others he sought out the works of
1452:"Jamais un artiste n'aura plus adoré, plus cherché que moi à honorer la musique, nul n'en aura plus souffert; et j'en souffrirai éternellement".
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project, and the first signs of a nervous disorder, probably the result of a syphilitic condition, that would claim his life 14 years later."
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Chabrier began taking music lessons at the age of six; his early teachers were from cosmopolitan backgrounds: at Ambert he studied with a
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in the last year of his life and died in Paris at the age of 53. Although he had asked to be buried near the tomb of Manet in the
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farce by Offenbach or a nationalist epic by Wagner. Perhaps "grand operetta" is the best way of describing this problem piece".
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with his family, enjoyed the music but did not realise he had written it, nor did he understand that the applause was for him.
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Chabrier was associated with some of the leading writers and painters of his time. Among his closest friends was the painter
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had made a deep impression on him, his irreverent nature led him to arrange five themes from the opera into a comic
959:". The opera has been revived from time to time, but has not gained a regular place in the international repertory.
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372:. Alice and Chabrier had three sons, one of whom died at birth. Chabrier's friends in Paris included the composers
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said of Chabrier, "he played the piano as no one has ever played it before, or ever will…" The wife of the painter
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There are several descriptions of Chabrier's piano-playing at around this time; many years later the composer
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2703:(Appendix G: Chabrier, Wagner and the painters of their time). Cassell & Company Ltd, London, 1973, p187.
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1143:'s "L'invitation au voyage" (1870), the voice and piano are joined by a solo bassoon. Chabrier's last song, "
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commented that despite the plot, the music made one see Ravel's point. After the same production, the critic
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Like many progressively-minded French composers of the time, Chabrier was greatly interested in the music of
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During the 1870s Chabrier began several stage works. The first to be completed was a three-act opéra-bouffe
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region of central France. He was the only son of a lawyer, Jean Chabrier, and his wife, Marie-Anne-Evelina,
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was acclaimed by the audience as undoubted proof of Chabrier's talent. Another attempt at operatic comedy,
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A few of Chabrier's piano works were later orchestrated. The composer arranged the four movements of the
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Chabrier was known for his continual contacts with contemporary artists, particularly painters of the
631:(The King in Spite of Himself) – and completed the score in six months. It was premiered at the
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by Édouard Manet, completed in 1882 was among those sold from Chabrier's collection after his death.
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Although the piano works are not the best known part of Chabrier's oeuvre, Poulenc put the cycle
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Chabrier died in Paris at the age of fifty-three from a neurological disease, probably caused by
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cycle, and in 1882 Chabrier and his wife visited Spain, which resulted in his most famous work,
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commented, "We have just heard something extraordinary: this music links our time with that of
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Some of the mature works are better known in their later orchestral versions, including the
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as a model. Huebner remarks on echoes of Chabrier in Debussy's "La soirée dans Grenade" in
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by Fauré and Messager is generally thought to have been composed after Chabrier's piece –
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Costallat, who published his works during the rest of his life. Above all, as a result of
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189:(1863). The first piece to which the composer gave an opus number was a waltz for piano,
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The other musicians in the picture are Adolphe Julien, Arthur Boisseau, Camille Benoît,
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In 1888 Chabrier made sixteen arrangements of French folk songs for an anthology called
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This article is about the composer and pianist. For other people of the same name, see
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Correspondance: 83-13n – the youngest, André, was born in the ladies only room at the
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Arnold and Nichols write that some of Chabrier's best music went into his comic opera
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suddenly opened up before of me, and my music has never forgotten this first kiss".
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and has melodic echoes of Wagner; he completed only one act. The Paris première of
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Vincent d'Indy called Chabrier "that great primitive ... a very great artist". In
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language" and "laced with a profusion of racy slang". In 1994 the musical scholar
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school. He left a rich collection of paintings by contemporary French painters;
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Composers from other countries who works show the influence of Chabrier include
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Both Chabrier's parents died within the space of eight days in 1869. During the
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explored new sound-worlds of which Debussy made effective use 30 years later.
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in 1886. It was well received, but closed after two performances because the
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Music and Painting – A study in comparative ideas from Turner to Schoenberg
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and playing them with the composer: "I thus worked on these three waltzes
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written in collaboration with two other composers, and which according to
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to gain an insight into the composer's creative process. On a trip to
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in 1900, and in 1917–18 Ravel arranged the "Menuet pompeux" from the
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824:(1874), unpublished in his lifetime, is an unusually poignant work.
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48:; 18 January 1841 – 13 September 1894) was a French
3343:
Duo de l'ouvreuse de l'Opéra-Comique et de l'employé du Bon Marché
1464:
disliked the piece, and Spanish audiences found it unintelligible.
504:, on which Chabrier had begun working in 1879. The librettist was
2044:
Mann, William. University and Student performances – Gwendoline.
1475:
1356:(right). Other portraits of Chabrier include a crayon drawing by
1215:
754:
644:
225:(both composition). In a study of the composer published in 1935
103:
2558:"The Art of French Piano Music: Debussy, Ravel, Fauré, Chabrier"
1370:
by Manet (1873), a pastel sketch by Manet (1880), a portrait by
491:
growing momentum of his musical career … his high hopes for the
392:, whose Thursday soirées Chabrier attended; and writers such as
2614:
Vol IX, VI Opera 1850–90 (b) France – David Charlton. P405-409.
750:
474:
352:, he continued in his official post as the ministry moved from
154:
147:
999:
showed what heights Chabrier might have reached had he lived.
177:
Spanish refugee called Saporta, and after the family moved to
1781:, Oxford University Press, 1992. Retrieved 15 September 2018
1703:, Oxford University Press, 2001. Retrieved 15 September 2018
498:
The project to which Huebner refers was the operatic tragedy
353:
3439:
2592:
Johnson, Graham (2002). Notes to Hyperion CD set CDA67133/4
2320:, Oxford University Press, 1992. Retrieved 16 September 2018
2303:, Oxford University Press, 1992. Retrieved 16 September 2018
528:
as "catastrophic". Chabrier worked on the piece until 1885.
481:
and others in March 1880, Chabrier first saw Wagner's opera
769:
points to examples of this in fast stamping rhythms in the
675:
Chabrier's tomb, Montparnasse cemetery (division 9), Paris.
2107:
Correspondance, 89–14 is a message set to music to d'Indy.
1814:
Delage 1999, p. 109 (libretto and score have not survived)
1542:, a similarly irreverent dance arrangement of themes from
808:
The work for which Chabrier is best known is his rhapsody
60:
Although known primarily for two of his orchestral works,
1049:(1885) which became one of his most popular piano works.
2280:"Emmanuel Chabrier, L'Étoile – Royal Opera House London"
955:
calls me a reactionary and the bourgeois considers me a
2979:. Translated by Harding, James. London: Dennis Dobson.
2525:, Oxford University Press. Retrieved 16 September 2018
2235:
Battioni, Isabelle (1999). Notes to Naxos CD 8.554248
716:, a plot was not available and he was interred in the
3416:
2434:
Larner, Gerald (1995). Notes to Hyperion CD CDH55428
1018:
under the influence of Wagner or of dry academicism.
625:. He then found a new lyric project to tackle –
467:. As a young man he had copied out the full score of
217:) (piano), Richard Hammer (violin), Théophile Semet (
3055:
Delage, Roger (October 1975). "Ravel and Chabrier".
2673:"Expert's Perspective: Mahler 9, A Bitter Burlesque"
2483:
Cushman, Robert (1994) Notes to Vox CD set CDX 5108
972:cycle; reviewing a rare revival in 2003 the critic
2953:
1348:(oil on canvas, 1881). He is seen at the piano in
899:"with substantial musical and dramatic interest".
2018:
2016:
1240:has thematic and melodic echoes of Chabrier, and
865:List of operas and operettas by Emmanuel Chabrier
3476:
3023:(January 1963). "Emmanuel Chabrier in Germany".
2975:Poulenc, Francis (1978). Audel, Stéphane (ed.).
1524:Chabrier also made a transcription of Berlioz's
1401:
2688:"Henri Fantin-Latour, Autour du piano, en 1885"
233:From 1862 Chabrier was among the circle of the
3086:
2013:
1614:La fête nationale, rue du Faubourg Saint-Denis
289:, 1888) as a remembrance of their friendship.
3172:
2785:(Format = Year - Letter number - Note number)
2739:Delage (1982), pp. 42, 57, 62, 63, 70 and 153
2690:, Musée d'Orsay. Retrieved 16 September 2018
1769:
1767:
1765:
942:Chabrier's only completed serious opera was
3090:(October 1935). "Chabrier in His Letters".
317:– have surpassed." The composer and critic
3179:
3165:
666:
3142:International Music Score Library Project
2829:
2267:"Chabrier, (Alexis-)Emmanuel (1841–1894)"
1762:
1549:Grove's Dictionary of Music and Musicians
1473:Huebner applies this comment to d'Indy's
1431:as the earlier of the two collaborations.
1117:Le plus jolies chansons du pays de France
1067:Vincent d'Indy wrote, after studying the
1052:Among Chabrier's works for four hands is
730:List of compositions by Emmanuel Chabrier
547:concerts. In 1881 Chabrier's piano cycle
380:, and Vincent d'Indy; painters including
329:One day Chabrier came; and he played his
2960:. trans. Cynthia Jolly. London: Dobson.
2765:
2675:, Kenneth Woods – conductor, 21 May 2010
2269:, OperaBase. Retrieved 16 September 2018
2250:
2248:
2033:Manuel de Falla – On Music and Musicians
1941:Delage p.688 (dedicated to Madame Manet)
1691:
1689:
1687:
1685:
1683:
1681:
1679:
1677:
1675:
1288:
1272:
901:
790:
670:
446:
291:
141:
27:
2974:
2948:
2926:
2887:
2868:
2588:
2586:
2584:
2582:
2580:
2217:Poulenc, pp. 65–66; and Nichols, p. 117
1985:
1983:
1801:
1799:
1673:
1671:
1669:
1667:
1665:
1663:
1661:
1659:
1657:
1655:
753:; a mixture of orthodox and unorthodox
508:, described by the pianist and scholar
16:French composer and pianist (1841–1894)
3477:
3054:
3019:
2810:
2788:
2683:
2681:
2458:
2456:
2213:
2211:
2181:
2179:
2177:
2076:
2074:
1928:
1926:
1858:
1856:
1737:
1735:
1733:
1100:by Chabrier. He began writing songs –
1045:also gave Chabrier the material for a
208:
205:, where he worked for nineteen years.
102:, and the group of composers known as
3186:
3160:
2993:
2909:
2873:. New York: Oxford University Press.
2846:
2832:Emmanuel Chabrier d'après ses lettres
2547:Orenstein, p. 219; and Poulenc, p. 54
2479:
2477:
2430:
2428:
2426:
2328:
2326:
2262:
2260:
2245:
1775:"Chabrier, (Alexis-)Emmanuel – Opera"
934:(An Incomplete Education), a one-act
906:Scene from first Paris production of
839:. Chabrier began an orchestration of
693:, which was inspired by a tragedy of
442:
43:
2834:(in French). Paris: Fernand Roches.
2771:Correspondance. Ed Delage R, Durif F
2577:
2340:, May 1971, pp. 314–318. In French.
1980:
1962:
1796:
1714:
1712:
1652:
1565:, Antoine Lascoux and Amédée Pigeon.
1366:by Degas (c. 1868); on the right of
325:, a friend of the composer, wrote:
3299:Prélude pastoral and Joyeuse marche
3129:Works by or about Emmanuel Chabrier
2895:. Farnham and Burlington: Ashgate.
2678:
2453:
2208:
2174:
2071:
2050:– May 1983, Vol 34 No 5, p568, 570.
1923:
1853:
1787:
1730:
1284:
185:(1856) was later modified into the
13:
3510:19th-century French male musicians
2852:Works for Piano: Emmanuel Chabrier
2474:
2423:
2355:
2323:
2257:
1197:, based on Chabrier's piano piece
1041:. The trip to Spain that inspired
870:consequently much of the music of
14:
3561:
3122:
2914:. London: J. M. Dent & Sons.
2871:French Opera at the Fin de Siècle
1709:
1618:The Rue Saint-Denis, 30 June 1878
1026:(1883) were issued posthumously.
340:and put the piano out of action."
237:in Paris. Among his friends were
3520:Burials at Montparnasse Cemetery
3495:19th-century classical composers
3462:
3450:
3438:
3426:
3402:
3401:
3138:Free scores by Emmanuel Chabrier
2996:César Franck: His Life and Times
2912:Emmanuel Chabrier and His Circle
2796:. Geneva: Minkoff & Lattès.
2742:
2391:"Le Roi Malgre Lui: Grange Park"
2193:, Oxford University Press, 2011
2185:Arnold, Denis and Roger Nichols
757:decoration; and frequent use of
649:Chevalier de la Légion d'honneur
543:, and included his music in the
421:(The Star), commissioned by the
3525:Knights of the Legion of Honour
2794:Chabrier, iconographie musicale
2733:
2724:
2715:
2706:
2693:
2665:
2653:
2644:
2635:
2626:
2617:
2602:
2550:
2541:
2531:
2511:
2502:
2493:
2465:
2444:
2403:
2383:
2374:
2346:
2306:
2289:
2272:
2229:
2220:
2199:
2165:
2155:
2146:
2137:
2128:
2119:
2110:
2101:
2092:
2083:
2068:Delage (1963), pp. 80 and 82–83
2062:
2053:
2038:
2025:
2004:
1992:
1971:
1953:
1944:
1935:
1914:
1905:
1896:
1883:
1874:
1865:
1850:Stove, p. 236; and Myers, p. 28
1844:
1835:
1826:
1817:
1808:
1568:
1555:
1533:
1518:
1505:
1496:
1467:
1455:
1446:
1434:
1421:
643:, directors of opera houses in
639:and subsequently the conductor
239:Auguste Villiers de l'Isle-Adam
2712:Poulenc, Appendix, pp. 102–104
1753:
1744:
1721:
1412:
1033:and the four numbers from the
858:
137:
1:
3500:19th-century French composers
2191:The Oxford Companion to Music
1697:"Chabrier, (Alexis-)Emmanuel"
1646:
1402:Notes, references and sources
1300:; Chabrier at the piano, and
786:
737:The Oxford Companion to Music
621:and the piano version of the
3389:Prélude et marche française
3199:List of operas and operettas
2815:(in French). Paris: Fayard.
1574:Details of these paintings:
1360:(1861); in the stage box in
1150:
984:doesn't know whether it's a
7:
3550:French male opera composers
3088:Prod'homme, Jacques-Gabriel
3013:
2998:. Lanham: Scarecrow Press.
2934:. London: Faber and Faber.
2610:New Oxford History of Music
1378:1881) and a bust (1886) by
1098:forty-three published songs
10:
3566:
3505:19th-century French people
3323:Songs of Emmanuel Chabrier
2830:Desaymard, Joseph (1934).
2754:
2411:"Enjoyable despite itself"
1893:, Bercy, on 28 April 1879.
1191:Général Lavine – excentric
991:Chabrier's last opera was
862:
727:
535:appointed Chabrier as his
257:Hungarian historical theme
227:Jacques-Gabriel Prod'homme
52:composer and pianist. His
18:
3540:French Romantic composers
3535:French operetta composers
3398:
3352:
3315:
3283:
3258:
3212:
3194:
2519:"Fauré, Gabriel (Urbain)"
1638:La Seine au Point du Jour
1585:Un bar aux Folies Bergère
1278:Un bar aux Folies Bergère
1204:Poulenc said that he had
1189:, and the piano prelude "
718:Cimetière du Montparnasse
594:, which was premiered at
146:Chabrier's birthplace in
117:, and Chabrier collected
3545:Lycée Saint-Louis alumni
3382:Trois valses romantiques
2869:Huebner, Steven (2006).
2850:(1995). "Introduction".
2759:
2662:in Delage (1999), p. 290
2623:Poulenc and Audel, p. 54
2612:. Romanticism 1830–1890.
1871:Delage, 1999, p.166-168.
1630:Canotier à Hampton Court
1530:for piano duet, in 1876.
1406:
1304:standing, furthest right
1211:Les mamelles de Tirésias
1195:A la manière de Chabrier
1091:
1070:Trois valses romantiques
1011:on a par with Debussy's
1002:
848:Trois valses romantiques
723:
203:Ministry of the Interior
37:Alexis-Emmanuel Chabrier
3117:(subscription required)
3082:(subscription required)
3050:(subscription required)
2566:(subscription required)
2527:(subscription required)
2419:(subscription required)
2399:(subscription required)
2342:(subscription required)
2314:"Une Education manquée"
2195:(subscription required)
1823:Correspondance: 88–112.
1783:(subscription required)
1750:Correspondance: 64–2 n5
1705:(subscription required)
1208:in mind while he wrote
667:Decline and final years
132:
45:[ɛmanɥɛlʃabʁie]
3530:French opera composers
3274:Vaucochard et fils Ier
2811:Delage, Roger (1999).
2517:Nectoux, Jean-Michel.
2450:Poulenc, pp. 63 and 77
2363:"Chabrier: Gwendoline"
2352:Poulenc, pp. 27 and 50
1363:L'orchestre de l'Opéra
1305:
1281:
1164:
911:
801:
708:Chabrier succumbed to
676:
460:
342:
301:
269:Le Service obligatoire
252:Vaucochard et fils Ier
150:
33:
3267:Une éducation manquée
3092:The Musical Quarterly
3057:The Musical Quarterly
3025:The Musical Quarterly
2994:Stove, R. J. (2012).
2977:My Friends and Myself
2910:Myers, Rollo (1969).
2721:Delage (1982), p. 127
2699:Lockspeiser, Edward.
2650:Delage (1975), p. 547
2641:Delage (1975), p. 550
2409:Christiansen Rupert.
2338:Revue Des Deux Mondes
2134:Correspondance: 92–88
1626:Pierre-Auguste Renoir
1602:Les bords de la Seine
1540:Souvenirs de Bayreuth
1292:
1276:
1159:
931:Une éducation manquée
905:
816:is found also in the
794:
674:
545:Lamoureux Orchestra's
450:
327:
295:
273:Victorin de Joncières
153:Chabrier was born in
145:
31:
3204:List of compositions
3104:10.1093/mq/xxi.4.451
3069:10.1093/mq/lxi.4.546
3037:10.1093/mq/xlix.1.75
2730:Delage (1982), p. 64
2571:14 June 2018 at the
2564:, June 2010, p. 790
2389:Greenfield, Edward.
2187:"Chabrier, Emmanuel"
2116:Correspondence 92–24
2010:Delage (1982), p. 25
1880:Delage (1982), p. 24
1368:Bal masqué à l'opéra
1346:Portrait de Chabrier
1112:("Adieux à Suzon").
1106:Théodore de Banville
1056:. Although Wagner's
590:declined to present
57:full-time composer.
3515:Composers for piano
3375:Souvenirs de Munich
3368:Pièces pittoresques
2854:. New York: Dover.
2632:Howat (2011), p. 34
2415:The Daily Telegraph
2334:"Emmanuel Chabrier"
2312:Forbes, Elizabeth.
2295:Forbes, Elizabeth.
1773:Soumagnac, Myriam.
1544:Wagner's Ring Cycle
1372:Marcellin Desboutin
1354:Henri Fantin-Latour
1298:Henri Fantin-Latour
1270:eight years later.
1179:without Chabrier's
1086:Pièces pittoresques
1054:Souvenirs de Munich
1035:Pièces pittoresques
1009:Pièces pittoresques
978:Rupert Christiansen
886:The Flying Dutchman
853:Pièces pittoresques
836:Pièces pittoresques
781:Pièces pittoresques
779:and several of the
550:Pièces pittoresques
451:Chabrier, 1880, by
382:Henri Fantin-Latour
346:Franco-Prussian War
283:À Emmanuel Chabrier
263:, to a libretto by
209:Paris: dual harness
2767:Chabrier, Emmanuel
2523:Grove Music Online
2318:Grove Music Online
2301:Grove Music Online
2143:Prod'homme, p. 455
2031:De Falla, Manuel.
1968:Prod'homme, p, 453
1805:Prod'homme, p. 452
1793:Prod'homme, p. 451
1779:Grove Music Online
1741:Prod'homme, p. 463
1701:Grove Music Online
1427:Some sources date
1380:Constantin Meunier
1314:Edward Lockspeiser
1306:
1282:
1176:La Damoiselle élue
1058:Tristan und Isolde
912:
892:Tristan and Isolde
802:
714:Cimetière de Passy
677:
598:in Brussels under
484:Tristan und Isolde
461:
457:Ordrupgaard Museum
443:Full-time composer
302:
187:Marche des Cipayes
151:
72:, Chabrier left a
34:
21:Chabrier (surname)
3414:
3413:
3361:Bourrée fantasque
3249:Le roi malgré lui
3188:Emmanuel Chabrier
3005:978-0-8108-8207-2
2986:978-0-234-77251-5
2967:978-0-234-77252-2
2956:Emmanuel Chabrier
2941:978-0-571-14986-5
2902:978-0-7546-5960-0
2880:978-0-19-518954-4
2861:978-0-486-28574-0
2822:978-2-213-60508-1
2813:Emmanuel Chabrier
2803:978-2-8266-0638-3
2780:978-2-252-02966-4
2499:Delage 1999 p.721
2286:, 5 February 2016
2278:Seymour, Claire,
2125:Desaymard, p. 323
1695:Huebner, Steven.
1037:that make up the
982:Le Roi malgre lui
974:Edward Greenfield
964:Le Roi malgré lui
842:Bourrée fantasque
772:Bourrée fantasque
628:Le roi malgré lui
583:as in the piece,
533:Charles Lamoureux
423:Bouffes-Parisiens
410:Stéphane Mallarmé
199:Lycée Saint-Louis
161:), a town in the
3557:
3467:
3466:
3465:
3455:
3454:
3453:
3443:
3442:
3431:
3430:
3429:
3422:
3405:
3404:
3284:Orchestral works
3181:
3174:
3167:
3158:
3157:
3133:Internet Archive
3118:
3115:
3083:
3080:
3051:
3048:
3009:
2990:
2971:
2959:
2950:Poulenc, Francis
2945:
2932:Ravel Remembered
2923:
2906:
2884:
2865:
2843:
2826:
2807:
2784:
2749:
2746:
2740:
2737:
2731:
2728:
2722:
2719:
2713:
2710:
2704:
2697:
2691:
2685:
2676:
2671:Woods, Kenneth.
2669:
2663:
2657:
2651:
2648:
2642:
2639:
2633:
2630:
2624:
2621:
2615:
2606:
2600:
2590:
2575:
2567:
2554:
2548:
2545:
2539:
2535:
2529:
2528:
2515:
2509:
2506:
2500:
2497:
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2463:
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2448:
2442:
2432:
2421:
2420:
2407:
2401:
2400:
2387:
2381:
2378:
2372:
2361:Salter, Lionel.
2359:
2353:
2350:
2344:
2343:
2330:
2321:
2310:
2304:
2293:
2287:
2276:
2270:
2264:
2255:
2254:Huebner, p. viii
2252:
2243:
2233:
2227:
2224:
2218:
2215:
2206:
2203:
2197:
2196:
2183:
2172:
2169:
2163:
2159:
2153:
2150:
2144:
2141:
2135:
2132:
2126:
2123:
2117:
2114:
2108:
2105:
2099:
2096:
2090:
2087:
2081:
2078:
2069:
2066:
2060:
2057:
2051:
2042:
2036:
2029:
2023:
2020:
2011:
2008:
2002:
1996:
1990:
1987:
1978:
1975:
1969:
1966:
1960:
1957:
1951:
1948:
1942:
1939:
1933:
1930:
1921:
1918:
1912:
1909:
1903:
1900:
1894:
1887:
1881:
1878:
1872:
1869:
1863:
1862:Servières, p. 10
1860:
1851:
1848:
1842:
1839:
1833:
1830:
1824:
1821:
1815:
1812:
1806:
1803:
1794:
1791:
1785:
1784:
1771:
1760:
1757:
1751:
1748:
1742:
1739:
1728:
1725:
1719:
1716:
1707:
1706:
1693:
1641:
1576:Les Moissonneurs
1572:
1566:
1559:
1553:
1537:
1531:
1527:Harold en Italie
1522:
1516:
1509:
1503:
1500:
1494:
1471:
1465:
1459:
1453:
1450:
1444:
1438:
1432:
1425:
1419:
1416:
1377:
1342:Édouard Detaille
1285:Chabrier and art
1252:movement of his
1168:
1145:Ode à la Musique
1134:Rosemonde Gérard
1110:Alfred de Musset
924:Elizabeth Forbes
795:1890 edition of
431:Eugène Leterrier
348:(1870–1871) and
298:Édouard Detaille
223:Aristide Hignard
179:Clermont-Ferrand
74:corpus of operas
47:
42:
32:Chabrier in 1882
3565:
3564:
3560:
3559:
3558:
3556:
3555:
3554:
3475:
3474:
3473:
3463:
3461:
3451:
3449:
3437:
3433:Classical music
3427:
3425:
3417:
3415:
3410:
3394:
3348:
3311:
3306:Suite pastorale
3279:
3254:
3208:
3190:
3185:
3152:Mutopia Project
3125:
3116:
3081:
3049:
3016:
3006:
2987:
2968:
2942:
2903:
2889:Johnson, Graham
2881:
2862:
2823:
2804:
2781:
2773:. Klincksieck.
2762:
2757:
2752:
2747:
2743:
2738:
2734:
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2725:
2720:
2716:
2711:
2707:
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2658:
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2640:
2636:
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2618:
2607:
2603:
2591:
2578:
2573:Wayback Machine
2565:
2555:
2551:
2546:
2542:
2536:
2532:
2526:
2516:
2512:
2507:
2503:
2498:
2494:
2482:
2475:
2470:
2466:
2461:
2454:
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2445:
2433:
2424:
2418:
2408:
2404:
2398:
2397:, 1 July 2003
2388:
2384:
2380:Huebner, p. 279
2379:
2375:
2360:
2356:
2351:
2347:
2341:
2332:Busser, Henri.
2331:
2324:
2311:
2307:
2294:
2290:
2277:
2273:
2265:
2258:
2253:
2246:
2234:
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2221:
2216:
2209:
2204:
2200:
2194:
2184:
2175:
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2115:
2111:
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2097:
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2088:
2084:
2079:
2072:
2067:
2063:
2058:
2054:
2043:
2039:
2030:
2026:
2021:
2014:
2009:
2005:
1997:
1993:
1989:Johnson, p. 279
1988:
1981:
1976:
1972:
1967:
1963:
1958:
1954:
1949:
1945:
1940:
1936:
1931:
1924:
1919:
1915:
1910:
1906:
1901:
1897:
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1754:
1749:
1745:
1740:
1731:
1726:
1722:
1718:Servières, p. 4
1717:
1710:
1704:
1694:
1653:
1649:
1644:
1610:Le parc Monceau
1573:
1569:
1560:
1556:
1538:
1534:
1523:
1519:
1510:
1506:
1501:
1497:
1472:
1468:
1460:
1456:
1451:
1447:
1441:Francis Poulenc
1439:
1435:
1426:
1422:
1417:
1413:
1409:
1404:
1375:
1350:Autour du piano
1294:Autour du piano
1287:
1258:Richard Strauss
1223:, Messager and
1170:
1167:Francis Poulenc
1166:
1153:
1094:
1039:Suite pastorale
1005:
867:
861:
830:Suite pastorale
789:
732:
726:
710:general paresis
669:
637:Ernest van Dyck
606:went bankrupt.
600:Henry Verdhurdt
553:was premiered.
445:
398:Alphonse Daudet
378:Ernest Chausson
370:Cirque Napoléon
211:
193:, op. 1, 1857.
140:
135:
92:Richard Strauss
40:
24:
17:
12:
11:
5:
3563:
3553:
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3547:
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3176:
3169:
3161:
3155:
3154:
3145:
3135:
3124:
3123:External links
3121:
3120:
3119:
3098:(4): 451–465.
3084:
3063:(4): 546–552.
3052:
3015:
3012:
3011:
3010:
3004:
2991:
2985:
2972:
2966:
2946:
2940:
2928:Nichols, Roger
2924:
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2885:
2879:
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2616:
2601:
2576:
2556:DeVoto, Mark.
2549:
2540:
2530:
2510:
2508:Poulenc, p. 57
2501:
2492:
2473:
2471:Poulenc, p. 39
2464:
2452:
2443:
2422:
2417:, 1 July 2003
2402:
2382:
2373:
2371:, October 1996
2354:
2345:
2322:
2305:
2288:
2271:
2256:
2244:
2228:
2226:Poulenc, p. 41
2219:
2207:
2198:
2173:
2171:Poulenc, p. 75
2164:
2154:
2152:Poulenc, p. 67
2145:
2136:
2127:
2118:
2109:
2100:
2091:
2082:
2080:Poulenc, p. 58
2070:
2061:
2059:Poulenc, p. 56
2052:
2037:
2024:
2022:Poulenc, p. 43
2012:
2003:
2001:in Howat, p. x
1991:
1979:
1977:Poulenc, p. 46
1970:
1961:
1952:
1943:
1934:
1932:Poulenc, p. 31
1922:
1920:Poulenc, p. 30
1913:
1904:
1902:Poulenc, p. 26
1895:
1882:
1873:
1864:
1852:
1843:
1834:
1825:
1816:
1807:
1795:
1786:
1761:
1759:Poulenc, p. 24
1752:
1743:
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1727:Poulenc, p. 23
1720:
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1408:
1405:
1403:
1400:
1302:Vincent d'Indy
1286:
1283:
1254:Ninth Symphony
1250:Rondo Burleske
1221:Charles Lecocq
1158:
1152:
1149:
1130:Edmond Rostand
1093:
1090:
1031:Joyeuse marche
1004:
1001:
860:
857:
818:Joyeuse marche
798:Joyeuse marche
788:
785:
777:Joyeuse marche
725:
722:
685:Charles Lecocq
668:
665:
623:Joyeuse Marche
531:The conductor
510:Graham Johnson
506:Catulle Mendès
444:
441:
319:Alfred Bruneau
306:Vincent d'Indy
285:(published in
265:Henry Fouquier
210:
207:
139:
136:
134:
131:
69:Joyeuse marche
15:
9:
6:
4:
3:
2:
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3436:
3434:
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3409:
3408:
3397:
3391:
3390:
3386:
3384:
3383:
3379:
3377:
3376:
3372:
3370:
3369:
3365:
3363:
3362:
3358:
3357:
3355:
3351:
3345:
3344:
3340:
3338:
3337:
3333:
3331:
3330:
3326:
3324:
3321:
3320:
3318:
3314:
3308:
3307:
3303:
3301:
3300:
3296:
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3263:
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3257:
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3250:
3246:
3244:
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3237:
3236:
3235:Fisch-Ton-Kan
3232:
3230:
3229:
3225:
3223:
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3217:
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3205:
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3200:
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3046:
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3038:
3034:
3030:
3026:
3022:
3021:Delage, Roger
3018:
3017:
3007:
3001:
2997:
2992:
2988:
2982:
2978:
2973:
2969:
2963:
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2937:
2933:
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2925:
2921:
2917:
2913:
2908:
2904:
2898:
2894:
2893:Gabriel Fauré
2890:
2886:
2882:
2876:
2872:
2867:
2863:
2857:
2853:
2849:
2845:
2841:
2837:
2833:
2828:
2824:
2818:
2814:
2809:
2805:
2799:
2795:
2791:
2790:Delage, Roger
2787:
2782:
2776:
2772:
2768:
2764:
2763:
2745:
2736:
2727:
2718:
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2595:
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2574:
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2563:
2559:
2553:
2544:
2534:
2524:
2520:
2514:
2505:
2496:
2490:
2486:
2480:
2478:
2468:
2459:
2457:
2447:
2441:
2437:
2431:
2429:
2427:
2416:
2412:
2406:
2396:
2392:
2386:
2377:
2370:
2369:
2364:
2358:
2349:
2339:
2335:
2329:
2327:
2319:
2315:
2309:
2302:
2298:
2292:
2285:
2281:
2275:
2268:
2263:
2261:
2251:
2249:
2242:
2238:
2232:
2223:
2214:
2212:
2202:
2192:
2188:
2182:
2180:
2178:
2168:
2158:
2149:
2140:
2131:
2122:
2113:
2104:
2098:Myers, p. 129
2095:
2089:Myers, p. 137
2086:
2077:
2075:
2065:
2056:
2049:
2048:
2041:
2034:
2028:
2019:
2017:
2007:
2000:
1995:
1986:
1984:
1974:
1965:
1956:
1950:Myers, p.109.
1947:
1938:
1929:
1927:
1917:
1908:
1899:
1892:
1886:
1877:
1868:
1859:
1857:
1847:
1838:
1829:
1820:
1811:
1802:
1800:
1790:
1780:
1776:
1770:
1768:
1766:
1756:
1747:
1738:
1736:
1734:
1724:
1715:
1713:
1702:
1698:
1692:
1690:
1688:
1686:
1684:
1682:
1680:
1678:
1676:
1674:
1672:
1670:
1668:
1666:
1664:
1662:
1660:
1658:
1656:
1651:
1639:
1635:
1634:Alfred Sisley
1631:
1627:
1623:
1619:
1615:
1611:
1607:
1603:
1599:
1595:
1591:
1590:Édouard Manet
1587:
1586:
1581:
1577:
1571:
1564:
1563:Edmond Maître
1558:
1551:
1550:
1545:
1541:
1536:
1529:
1528:
1521:
1514:
1508:
1499:
1492:
1488:
1487:
1486:Le roi Arthus
1482:
1478:
1477:
1470:
1463:
1462:Isaac Albeniz
1458:
1449:
1442:
1437:
1430:
1429:Fisch-Ton-Kan
1424:
1415:
1411:
1399:
1397:
1393:
1389:
1383:
1381:
1373:
1369:
1365:
1364:
1359:
1355:
1351:
1347:
1343:
1338:
1336:
1332:
1328:
1324:
1320:
1315:
1311:
1310:Impressionist
1303:
1299:
1295:
1291:
1279:
1275:
1271:
1269:
1268:
1263:
1259:
1255:
1251:
1247:
1244:, who called
1243:
1239:
1238:
1233:
1228:
1226:
1222:
1217:
1213:
1212:
1207:
1202:
1200:
1196:
1192:
1188:
1187:
1182:
1178:
1177:
1169:
1163:
1157:
1148:
1146:
1142:
1137:
1135:
1131:
1126:
1122:
1118:
1113:
1111:
1108:("Lied") and
1107:
1103:
1099:
1089:
1087:
1082:
1080:
1079:alla Chabrier
1076:
1072:
1071:
1065:
1063:
1059:
1055:
1050:
1048:
1044:
1040:
1036:
1032:
1027:
1025:
1019:
1016:
1015:
1010:
1000:
998:
994:
989:
987:
983:
979:
975:
971:
970:
965:
960:
958:
954:
949:
945:
940:
937:
933:
932:
927:
925:
920:
916:
909:
904:
900:
898:
894:
893:
888:
887:
882:
877:
873:
866:
856:
854:
850:
849:
844:
843:
838:
837:
833:from the ten
832:
831:
825:
823:
819:
815:
811:
806:
800:
799:
793:
784:
782:
778:
774:
773:
768:
764:
760:
759:cross-rhythms
756:
752:
747:
746:Roger Nichols
743:
739:
738:
731:
721:
719:
715:
711:
706:
704:
700:
696:
692:
691:
686:
682:
673:
664:
662:
658:
652:
650:
646:
642:
638:
634:
633:Opéra-Comique
630:
629:
624:
620:
619:
612:
609:
605:
601:
597:
593:
589:
584:
582:
578:
574:
570:
569:
564:
560:
556:
552:
551:
546:
542:
538:
537:chorus master
534:
529:
527:
523:
519:
515:
511:
507:
503:
502:
496:
494:
488:
486:
485:
480:
476:
472:
471:
466:
458:
454:
449:
440:
437:
432:
428:
427:Albert Vanloo
424:
420:
419:
413:
411:
407:
406:Jean Richepin
403:
399:
395:
391:
390:Édouard Manet
387:
383:
379:
375:
374:Gabriel Fauré
371:
367:
363:
359:
355:
351:
347:
341:
339:
334:
333:
326:
324:
320:
316:
312:
307:
299:
294:
290:
288:
284:
280:
279:
278:Fisch-Ton-Kan
274:
270:
266:
262:
258:
254:
253:
248:
244:
243:Paul Verlaine
240:
236:
231:
228:
224:
220:
216:
206:
204:
200:
194:
192:
188:
184:
180:
176:
171:
168:
164:
160:
156:
149:
144:
130:
128:
123:
120:
119:Impressionist
116:
115:Édouard Manet
111:
109:
105:
101:
97:
93:
89:
85:
81:
80:
75:
71:
70:
65:
64:
58:
55:
51:
46:
38:
30:
26:
22:
3400:
3387:
3380:
3373:
3366:
3359:
3341:
3334:
3329:À la musique
3327:
3304:
3297:
3290:
3272:
3265:
3247:
3240:
3233:
3226:
3219:
3187:
3095:
3091:
3060:
3056:
3031:(1): 75–84.
3028:
3024:
2995:
2976:
2955:
2931:
2911:
2892:
2870:
2851:
2831:
2812:
2793:
2770:
2744:
2735:
2726:
2717:
2708:
2700:
2695:
2667:
2659:
2655:
2646:
2637:
2628:
2619:
2608:
2604:
2561:
2552:
2543:
2533:
2522:
2513:
2504:
2495:
2467:
2446:
2414:
2405:
2395:The Guardian
2394:
2385:
2376:
2366:
2357:
2348:
2337:
2317:
2308:
2300:
2291:
2283:
2274:
2231:
2222:
2205:Howat, p. ix
2201:
2190:
2167:
2157:
2148:
2139:
2130:
2121:
2112:
2103:
2094:
2085:
2064:
2055:
2045:
2040:
2032:
2027:
2006:
1998:
1994:
1973:
1964:
1959:Delage p.243
1955:
1946:
1937:
1916:
1907:
1898:
1891:Gare de Lyon
1885:
1876:
1867:
1846:
1837:
1832:Myers, p. 50
1828:
1819:
1810:
1789:
1778:
1755:
1746:
1723:
1700:
1637:
1629:
1621:
1617:
1613:
1609:
1606:Claude Monet
1601:
1598:Polichinelle
1597:
1593:
1583:
1580:Paul Cézanne
1575:
1570:
1557:
1547:
1539:
1535:
1525:
1520:
1507:
1498:
1490:
1484:
1474:
1469:
1457:
1448:
1436:
1428:
1423:
1414:
1384:
1367:
1361:
1358:James Tissot
1349:
1345:
1344:and Manet's
1339:
1307:
1293:
1277:
1265:
1261:
1249:
1245:
1235:
1229:
1209:
1205:
1203:
1198:
1194:
1184:
1180:
1174:
1171:
1165:
1160:
1154:
1138:
1116:
1114:
1101:
1095:
1085:
1083:
1078:
1074:
1068:
1066:
1057:
1053:
1051:
1046:
1042:
1038:
1034:
1030:
1028:
1023:
1020:
1012:
1008:
1006:
996:
992:
990:
981:
967:
963:
961:
956:
952:
948:Henri Büsser
943:
941:
929:
928:
919:opéra bouffe
914:
913:
907:
896:
890:
884:
880:
875:
871:
868:
852:
846:
840:
834:
828:
826:
821:
817:
813:
809:
807:
803:
796:
780:
776:
770:
742:Denis Arnold
735:
733:
707:
698:
688:
678:
661:Roger Delage
653:
626:
616:
613:
608:William Mann
591:
585:
572:
566:
555:César Franck
548:
530:
525:
499:
497:
492:
489:
482:
479:Henri Duparc
468:
462:
435:
416:
414:
366:Cirque d'été
343:
330:
328:
303:
296:Chabrier by
286:
282:
276:
268:
261:Jean Hunyade
260:
250:
232:
212:
195:
190:
186:
182:
172:
166:
152:
124:
112:
77:
67:
61:
59:
36:
35:
25:
3490:1894 deaths
3485:1841 births
3353:Piano music
3336:La Sulamite
3316:Vocal music
3148:Free scores
2748:Myers p.161
2462:Howat, p.ix
2284:Opera Today
1911:Myers, p. 7
1841:Myers, p. 6
1489:as well to
1296:, 1885, by
1181:La sulamite
859:Stage works
763:syncopation
657:Rabelaisian
641:Felix Mottl
618:La Sulamite
588:Paris Opéra
402:Jean Moréas
386:Edgar Degas
235:Parnassians
183:Le Scalp!!!
159:Puy-de-Dôme
138:Early years
122:character.
76:(including
3479:Categories
3242:Gwendoline
2848:Howat, Roy
2598:1002911049
2489:1004785844
2368:Gramophone
2297:"L'etoile"
1647:References
1640:by Sisley.
1620:by Monet;
1616:by Monet;
1612:by Monet;
1600:by Manet;
1596:by Manet;
1594:Le Skating
1491:Gwendoline
1232:Stravinsky
1199:Mélancolie
1141:Baudelaire
1096:There are
944:Gwendoline
908:Gwendoline
897:Gwendoline
881:Gwendoline
872:Gwendoline
863:See also:
787:Orchestral
728:See also:
699:Gwendoline
604:impresario
596:La Monnaie
592:Gwendoline
541:répétiteur
526:Gwendoline
501:Gwendoline
493:Gwendoline
470:Tannhäuser
394:Émile Zola
362:Versailles
315:Rubinstein
100:Stravinsky
3457:Biography
3259:Operettas
2952:(1981) .
2920:468885958
2840:217973854
2440:809033754
2241:884173078
1622:Femme nue
1237:Petrushka
1151:Influence
1075:con amore
1062:quadrille
1024:Capriccio
957:wagnérien
953:wagnérien
767:Roy Howat
755:chromatic
703:stage box
459:, Denmark
259:entitled
247:Offenbach
54:bourgeois
3407:Category
3228:L'étoile
3014:Journals
2930:(1987).
2891:(2011).
2792:(1982).
2769:(1994).
2569:Archived
2162:illness.
1481:Chausson
1392:Willette
1234:, whose
1206:L'étoile
1186:Estampes
1102:mélodies
1047:Habanera
1014:Preludes
986:Carry On
980:wrote, "
936:opérette
915:L'etoile
740:(2011),
681:syphilis
577:de Falla
559:Couperin
522:Messager
514:Massenet
436:L'étoile
418:L'étoile
368:and the
360:then to
358:Bordeaux
163:Auvergne
127:syphilis
79:L'étoile
50:Romantic
3419:Portals
3221:Briséïs
3150:at the
3144:(IMSLP)
3140:at the
3131:at the
2755:Sources
1513:harmony
1476:Fervaal
1388:Régnier
1319:Cézanne
1262:Briséïs
1216:Les Six
1125:Britten
997:Briséïs
993:Briséïs
876:Briséïs
822:Lamento
751:octaves
690:Briséïs
645:Leipzig
518:Debussy
350:Commune
338:strings
175:Carlist
104:Les Six
84:Debussy
41:French:
3292:España
3213:Operas
3112:738665
3110:
3077:741394
3075:
3045:740499
3043:
3002:
2983:
2964:
2938:
2918:
2899:
2877:
2858:
2838:
2819:
2800:
2777:
2660:Quoted
2596:
2487:
2438:
2239:
1999:Quoted
1376:
1335:Sisley
1333:, and
1331:Renoir
1267:Salome
1246:España
1242:Mahler
1121:Bartók
1043:España
910:, 1893
814:España
810:España
775:, the
695:Goethe
573:España
563:Rameau
475:Munich
465:Wagner
332:España
323:Renoir
300:(1873)
221:) and
155:Ambert
148:Ambert
108:Wagner
63:España
3469:Music
3445:Opera
3108:JSTOR
3073:JSTOR
3041:JSTOR
2760:Books
2562:Notes
2538:1995.
2047:Opera
1407:Notes
1327:Monet
1323:Manet
1225:Satie
1092:Songs
1003:Piano
917:, an
724:Works
477:with
453:Manet
354:Tours
311:Liszt
287:Amour
191:Julia
96:Satie
88:Ravel
3000:ISBN
2981:ISBN
2962:ISBN
2936:ISBN
2916:OCLC
2897:ISBN
2875:ISBN
2856:ISBN
2836:OCLC
2817:ISBN
2798:ISBN
2775:ISBN
2594:OCLC
2485:OCLC
2436:OCLC
2237:OCLC
1479:and
1396:Gill
1394:and
1132:and
969:Ring
889:and
883:and
874:and
761:and
744:and
586:The
581:jota
568:Ring
561:and
539:and
520:and
429:and
408:and
388:and
313:and
241:and
133:Life
66:and
3100:doi
3065:doi
3033:doi
1632:by
1624:by
1604:by
1588:by
1578:by
1483:'s
1374:(c.
1352:by
356:to
167:née
157:, (
3481::
3106:.
3096:21
3094:.
3071:.
3061:61
3059:.
3039:.
3029:49
3027:.
2680:^
2579:^
2560:,
2521:,
2476:^
2455:^
2425:^
2413:,
2393:,
2365:,
2336:,
2325:^
2316:,
2299:,
2282:,
2259:^
2247:^
2210:^
2189:,
2176:^
2073:^
2015:^
1982:^
1925:^
1855:^
1798:^
1777:,
1764:^
1732:^
1711:^
1699:,
1654:^
1636:;
1628:;
1608:;
1592:;
1582:;
1398:.
1390:,
1382:.
1337:.
1329:,
1325:,
1321:,
1256:.
1227:.
1201:.
1123:,
855:.
783:.
651:.
516:,
455:,
412:.
404:,
400:,
396:,
384:,
376:,
249:,
219:fr
215:de
129:.
98:,
94:,
90:,
86:,
3421::
3180:e
3173:t
3166:v
3114:.
3102::
3079:.
3067::
3047:.
3035::
3008:.
2989:.
2970:.
2944:.
2922:.
2905:.
2883:.
2864:.
2842:.
2825:.
2806:.
2783:.
1493:.
655:"
39:(
23:.
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