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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Songs of Emmanuel Chabrier

The French composer Emmanuel Chabrier (1841–1894) wrote music in many genres, including opera and operetta, piano, orchestral music, and songs with piano accompaniment.^[1] The songs cover most of his creative years, from the early 1860s to 1890, when the illness which would kill him prevented much composition.^{[n 1]} He came late to music as a yrke, but – although being an exceptional pianist – he had no trappings of a formal training: no conservatoire studies, no Prix dem Rome, "none of the conventional badges of French academic musicians, by whom he was regarded as an amateur" (in the best sense).^[2]

There are forty-three published songs by Chabrier. He began composing these mélodies when he was about twenty-one; the first nine were written between 1862 and 1866. Chabrier never set any verse by his friend Verlaine (although they did collaborate on two opéras-bouffes Fisch-Ton-Kan and Vaucochard et fils Ier),

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"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