Susan Nanette Hayes, "CHAMBER MUSIC IN FRANCE FEATURING FLUTE AND SOPRANO (1850-1950)"
ABSTRACT
Title of dissertation:
CHAMBER MUSIC IN FRANCE FEATURING FLUTE AND SOPRANO, 1850-1950, AND
A STUDY OF THE INTERACTIONS AMONG THE LEADING FLUTISTS, SOPRANOS, COMPOSERS, ARTISTS, AND LITERARY FIGURES OF THE TIME
Susan Nanette Hayes, Doctor of Musical Arts, 2006
Dissertation directed by: Professor William L. Montgomery, School of Music
This dissertation, together with the accompanying recital recordings,
constitute an examination of chamber music for flute, soprano, and piano and
for flute, soprano, and chamber ensemble
written by French composers between 1850 and 1950.
This examination includes:
- an annotated bibliography of the music,
- a written document studying the interactions of the leading flutists, sopranos, composers, artists, and literary figures of the time, and
- 2 recitals of representative works from the repertoire of about 120 minutes, which were recorded during performances at University of Maryland in March of 2004.
The text examines the various types of chamber works written during this period
for flute and soprano, with and without additional accompaniment.
The amount of repertoire written for flute and voice during this period by composers of a single nationality is exceptional in the history of music.
The annotated bibliography lists about 100 pieces in the genre, a truly substantial repertoire.
As a performer, I was intrigued by the possibility that several generations of
highly gifted, individualistic performers may have inspired these composers to produce this tremendous outpouring of repertoire.
With the proximity of so many great singers and flutists in Paris at the time, it can hardly be coincidental that so many composers,
both the most well-known and some who are quite obscure today, produced so many
exceptional works for these combinations of instruments with voice.
Indeed, I contend that the composers were influenced both by specific musicians and by their contemporaries and colleagues in literature and the visual arts, who inspired them to give so much attention to the development of what would have been regarded as a small form.
Part of my historical research has been to search for the intersections between performer, poet, and composer and to determine some of the ways in which they affected one another.
A second purpose of my study is to develop an annotated bibliography of these
works, thus providing extensive, useful information regarding first performances,
instrumentation, vocal range, flute range, keys, time signatures, dedications, timings of the works, publisher, availability, and the relative merit of the works themselves.
Many of the compositions for soprano and flute are, admittedly, of dubious musical value, but some are masterworks of the chamber music repertoire, and few are actively performed today.
In addition, a large number of the pieces listed in the bibliography are out of print.
Because so many of the composers no longer have a significant prominence, their works today lay generally unperformed and undiscovered.
The annotated bibliography also serves as a reference guide for today's performers of this repertoire.
A final purpose of this study is the performance and preservation through audio
recordings of a number of works associated with this project.
The recordings will serve as a means of documenting some of this remarkable music.
Dissertation submitted to the Faculty of the Graduate School of the
University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
2006
TABLE OF CONTENTS
ACKNOWLEDGMENTS iii
LIST OF TABLES x
CHAPTER 1: INTRODUCTION AND OVERVIEW 1
Historical Overview - Social and Artistic Change 5
Musical Education and Composition 10
The Influence of Wagner 12
Exoticism 13
The Paris Opéra 15
New Directions in French music following the
Franco-Prussian War (1870-1871) 19
The Salons 21
The Sociétés 23
The Mélodie 24
Poets and Writers, 1850-1950 25
The Flute, 1850-1950 27
The Sopranos, 1850-1950 29
Prominent Musicians, 1850-1950 30
CHAPTER 2: HISTORICAL OVERVIEW 32
Romanticism - The Early Works for Flute and Soprano 33
Romanticism - Political and Social Life 38
Romanticism - Artistic and Cultural Life 41
Post-Romanticism 43
Lyricism 45
Religion 48
Nationalism 49
New Teaching Methods for Flute at the Conservatoire 56
Impressionism 58
La Belle Époque 63
The Avant-Garde 69
The Dreyfus Affair 75
World War I 78
The Period Between the Two World Wars 84
World War II 93
Post-World War II 97
CHAPTER 3: MUSIC EDUCATION IN FRANCE 103
The Conservatoire 104
French Composers and their Teachers 106
The Prix de Rome and the Music for Flute and Voice 111
Reform at the Conservatoire 113
The École Niedermeyer 115
The Schola Cantorum 117
Other Composers of Music for Flute and Voice 122
CHAPTER 4: WAGNER 127
Wagner and Nationalism 128
Wagner in Paris 130
Pro-Wagner Factions in France 134
Debussy and the Anti-Wagner Factions 136
Fauré and the Development of French Mélodie 140
Satie and the Development of a French Style 141
World War I, Cocteau, and Les six 143
CHAPTER 5: EXOTICISM: THE INFLUENCE OF LE JAPONISME AND L'ORIENTALISM 148
The Near East 149
Folk Idioms 152
Le Japonisme 153
CHAPTER 6: THE SALONS AND THE INTERACTION BETWEEN
MUSICIANS, ARTISTS, AND WRITERS 156
An Introduction to the French Salon 157
Composers of Flute and Voice Music and the Salons 160
Parisian Salons at the Turn of the Nineteenth Century 165
Other Gatherings of Artists at the Turn of the Nineteenth
Century 171
Maurice Ravel and Les apaches 172
Les six and their Collaborators 175
Triton 179
La jeune france 182
CHAPTER 7: THE CONCERT SOCIÉTÉS 186
Société des concerts du Conservatoire 191
Société de Sainte-Cécile 197
Société des jeunes élèves du Conservatoire
and the Concerts populaires de musique classique 197
Société nationale de musique 199
Société musicale indépendente 202
Other Sociétés 203
CHAPTER 8: THE RISE OF FRENCH MÉLODIE 207
A History of Mélodie: The Romance 208
The Beginnings of Mélodie 212
Mélodies for Flute and Voice 216
CHAPTER 9: THE WRITERS 221
The Parnassians 222
Naturalism 224
The Decadent Movement 225
Symbolism 226
Symbolism in Music 228
Dada and the Surrealist Movement 231
World War II 233
The Collaboration of Writers and Musicians 235
The Music for Flute and Voice and Its Poets 238
Ravel and the Music for Flute and Voice 242
Les six and the Music for Flute and Voice 245
CHAPTER 10: THE RISE OF THE GREAT FRENCH FLUTISTS 247
The Boehm Flute in France 248
Flute Teaching at the Conservatoire 251
Jean-Louis Tulou (1786-1856) 252
Louis Dorus (1813-1896) 253
Joseph-Henri Altès (1826-1895) 257
Claude-Paul Taffanel (1844-1908) 258
Taffanel's Teaching Methods and His Students 262
Successors to Claude-Paul Taffanel 264
Music for Flute by French Composers 265
French Flutists Premiere Works by French Composers 269
Philippe Gaubert (1879-1941) 272
René Le Roy (1898-1985) 275
Georges Barrère (1876-1944) 277
Louis Fleury (1878-1926) 282
Marcel Moyse (1889-1984) 284
French Flutists Premiere Works for Flute and Voice 291
CHAPTER 11: THE RISE OF THE GREAT SOPRANOS 293
Sopranos and the Creation of Operatic Roles 295
Great Sopranos in the Years Prior to 1850 297
The Coloratura Soprano 299
Sopranos of the Late-Nineteenth and
Early-Twentieth Centuries 302
Maria Malibran (1808-1836) 303
Rosine Stoltz (1815-1903) 303
Nellie Melba (1859-1940) 304
Emma Calvé (1859-1942) 305
Sybil Sanderson (1865-1903) 306
Mary Garden (1874-1967) 306
Claire Croiza (1882-1946) 307
Sopranos and the Creation of Mélodie and
Chamber Music for Flute and Voice 308
Pauline Viardot (1821-1910) 314
Caroline Miolan-Carvalho (1827-1895) 320
Adelina Patti (1843-1919) 322
Jane Bathori (1877-1970) 325
CHAPTER 12: THE COMPOSERS AND THE MUSIC FOR FLUTE AND VOICE 338
Auguste Panseron (1795-1859) 339
Félicien David (1810-1876) 340
Charles Gounod (1818-1893) 343
Camille Saint-Saëns (1835-1892) 345
Gabriel Fauré (1845-1924) 348
Cécile Chaminade (1857-1944) 355
Mélanie Hélène Bonis (1858-1937) 356
Maurice Emmanuel (1862-1938) 358
Claude Debussy (1862-1918) 362
Charles Koechlin (1867-1950) 371
Albert Roussel (1869-1937) 376
Maurice Ravel (1875-1937) 380
André Caplet (1878-1925) 391
Jean Cras (1879-1932) 395
Maurice Delage (1879-1961) 397
Jacques Ibert (1890-1962) 402
Alexis Roland-Manuel (1891-1966) 404
Georges Migot (1891-1976) 405
Arthur Honegger (1892-1955) 410
Darius Milhaud (1892-1974) 413
Jean Rivier (1896-1987) 420
Francis Poulenc (1899-1963) 424
Henri Tomasi (1901-1971) 434
Jean-Yves Daniel-Lesur (1908-2002) 435
Other Composers 439
Conclusion 439
APPENDICES
I. ANNOTATED MUSICAL BIBLIOGRAPHY 441
II. RECITAL PROGRAMS 496
III. SONG TRANSLATIONS 504
IV. SELECTED FRENCH COMPOSERS OF MÉLODIE 542
V. PRIX DE ROME WINNERS IN MUSICAL COMPOSITION 1850-1950 547
VI. SOLOS FOR FLUTE OF THE CONCOURS DU PRIX AT THE PARIS CONSERVATOIRE 1850-1950 552
VII. A CHRONOLOGY OF SELECTED EVENTS IN POLITICAL AND ARTISTIC HISTORY 1850-1950 556
VIII. FLUTE PROFESSORS OF THE PARIS CONSERVATOIRE 1795 - PRESENT 577
BIBLIOGRAPHY 578
_______________________________________
http://www.lib.umd.edu/drum/bitstream/1903/3482/1/umi-umd-3310.pdf
Title of dissertation:
CHAMBER MUSIC IN FRANCE FEATURING FLUTE AND SOPRANO, 1850-1950, AND
A STUDY OF THE INTERACTIONS AMONG THE LEADING FLUTISTS, SOPRANOS, COMPOSERS, ARTISTS, AND LITERARY FIGURES OF THE TIME
Susan Nanette Hayes, Doctor of Musical Arts, 2006
Dissertation directed by: Professor William L. Montgomery, School of Music
This dissertation, together with the accompanying recital recordings,
constitute an examination of chamber music for flute, soprano, and piano and
for flute, soprano, and chamber ensemble
written by French composers between 1850 and 1950.
This examination includes:
- an annotated bibliography of the music,
- a written document studying the interactions of the leading flutists, sopranos, composers, artists, and literary figures of the time, and
- 2 recitals of representative works from the repertoire of about 120 minutes, which were recorded during performances at University of Maryland in March of 2004.
The text examines the various types of chamber works written during this period
for flute and soprano, with and without additional accompaniment.
The amount of repertoire written for flute and voice during this period by composers of a single nationality is exceptional in the history of music.
The annotated bibliography lists about 100 pieces in the genre, a truly substantial repertoire.
As a performer, I was intrigued by the possibility that several generations of
highly gifted, individualistic performers may have inspired these composers to produce this tremendous outpouring of repertoire.
With the proximity of so many great singers and flutists in Paris at the time, it can hardly be coincidental that so many composers,
both the most well-known and some who are quite obscure today, produced so many
exceptional works for these combinations of instruments with voice.
Indeed, I contend that the composers were influenced both by specific musicians and by their contemporaries and colleagues in literature and the visual arts, who inspired them to give so much attention to the development of what would have been regarded as a small form.
Part of my historical research has been to search for the intersections between performer, poet, and composer and to determine some of the ways in which they affected one another.
A second purpose of my study is to develop an annotated bibliography of these
works, thus providing extensive, useful information regarding first performances,
instrumentation, vocal range, flute range, keys, time signatures, dedications, timings of the works, publisher, availability, and the relative merit of the works themselves.
Many of the compositions for soprano and flute are, admittedly, of dubious musical value, but some are masterworks of the chamber music repertoire, and few are actively performed today.
In addition, a large number of the pieces listed in the bibliography are out of print.
Because so many of the composers no longer have a significant prominence, their works today lay generally unperformed and undiscovered.
The annotated bibliography also serves as a reference guide for today's performers of this repertoire.
A final purpose of this study is the performance and preservation through audio
recordings of a number of works associated with this project.
The recordings will serve as a means of documenting some of this remarkable music.
Dissertation submitted to the Faculty of the Graduate School of the
University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
2006
TABLE OF CONTENTS
ACKNOWLEDGMENTS iii
LIST OF TABLES x
CHAPTER 1: INTRODUCTION AND OVERVIEW 1
Historical Overview - Social and Artistic Change 5
Musical Education and Composition 10
The Influence of Wagner 12
Exoticism 13
The Paris Opéra 15
New Directions in French music following the
Franco-Prussian War (1870-1871) 19
The Salons 21
The Sociétés 23
The Mélodie 24
Poets and Writers, 1850-1950 25
The Flute, 1850-1950 27
The Sopranos, 1850-1950 29
Prominent Musicians, 1850-1950 30
CHAPTER 2: HISTORICAL OVERVIEW 32
Romanticism - The Early Works for Flute and Soprano 33
Romanticism - Political and Social Life 38
Romanticism - Artistic and Cultural Life 41
Post-Romanticism 43
Lyricism 45
Religion 48
Nationalism 49
New Teaching Methods for Flute at the Conservatoire 56
Impressionism 58
La Belle Époque 63
The Avant-Garde 69
The Dreyfus Affair 75
World War I 78
The Period Between the Two World Wars 84
World War II 93
Post-World War II 97
CHAPTER 3: MUSIC EDUCATION IN FRANCE 103
The Conservatoire 104
French Composers and their Teachers 106
The Prix de Rome and the Music for Flute and Voice 111
Reform at the Conservatoire 113
The École Niedermeyer 115
The Schola Cantorum 117
Other Composers of Music for Flute and Voice 122
CHAPTER 4: WAGNER 127
Wagner and Nationalism 128
Wagner in Paris 130
Pro-Wagner Factions in France 134
Debussy and the Anti-Wagner Factions 136
Fauré and the Development of French Mélodie 140
Satie and the Development of a French Style 141
World War I, Cocteau, and Les six 143
CHAPTER 5: EXOTICISM: THE INFLUENCE OF LE JAPONISME AND L'ORIENTALISM 148
The Near East 149
Folk Idioms 152
Le Japonisme 153
CHAPTER 6: THE SALONS AND THE INTERACTION BETWEEN
MUSICIANS, ARTISTS, AND WRITERS 156
An Introduction to the French Salon 157
Composers of Flute and Voice Music and the Salons 160
Parisian Salons at the Turn of the Nineteenth Century 165
Other Gatherings of Artists at the Turn of the Nineteenth
Century 171
Maurice Ravel and Les apaches 172
Les six and their Collaborators 175
Triton 179
La jeune france 182
CHAPTER 7: THE CONCERT SOCIÉTÉS 186
Société des concerts du Conservatoire 191
Société de Sainte-Cécile 197
Société des jeunes élèves du Conservatoire
and the Concerts populaires de musique classique 197
Société nationale de musique 199
Société musicale indépendente 202
Other Sociétés 203
CHAPTER 8: THE RISE OF FRENCH MÉLODIE 207
A History of Mélodie: The Romance 208
The Beginnings of Mélodie 212
Mélodies for Flute and Voice 216
CHAPTER 9: THE WRITERS 221
The Parnassians 222
Naturalism 224
The Decadent Movement 225
Symbolism 226
Symbolism in Music 228
Dada and the Surrealist Movement 231
World War II 233
The Collaboration of Writers and Musicians 235
The Music for Flute and Voice and Its Poets 238
Ravel and the Music for Flute and Voice 242
Les six and the Music for Flute and Voice 245
CHAPTER 10: THE RISE OF THE GREAT FRENCH FLUTISTS 247
The Boehm Flute in France 248
Flute Teaching at the Conservatoire 251
Jean-Louis Tulou (1786-1856) 252
Louis Dorus (1813-1896) 253
Joseph-Henri Altès (1826-1895) 257
Claude-Paul Taffanel (1844-1908) 258
Taffanel's Teaching Methods and His Students 262
Successors to Claude-Paul Taffanel 264
Music for Flute by French Composers 265
French Flutists Premiere Works by French Composers 269
Philippe Gaubert (1879-1941) 272
René Le Roy (1898-1985) 275
Georges Barrère (1876-1944) 277
Louis Fleury (1878-1926) 282
Marcel Moyse (1889-1984) 284
French Flutists Premiere Works for Flute and Voice 291
CHAPTER 11: THE RISE OF THE GREAT SOPRANOS 293
Sopranos and the Creation of Operatic Roles 295
Great Sopranos in the Years Prior to 1850 297
The Coloratura Soprano 299
Sopranos of the Late-Nineteenth and
Early-Twentieth Centuries 302
Maria Malibran (1808-1836) 303
Rosine Stoltz (1815-1903) 303
Nellie Melba (1859-1940) 304
Emma Calvé (1859-1942) 305
Sybil Sanderson (1865-1903) 306
Mary Garden (1874-1967) 306
Claire Croiza (1882-1946) 307
Sopranos and the Creation of Mélodie and
Chamber Music for Flute and Voice 308
Pauline Viardot (1821-1910) 314
Caroline Miolan-Carvalho (1827-1895) 320
Adelina Patti (1843-1919) 322
Jane Bathori (1877-1970) 325
CHAPTER 12: THE COMPOSERS AND THE MUSIC FOR FLUTE AND VOICE 338
Auguste Panseron (1795-1859) 339
Félicien David (1810-1876) 340
Charles Gounod (1818-1893) 343
Camille Saint-Saëns (1835-1892) 345
Gabriel Fauré (1845-1924) 348
Cécile Chaminade (1857-1944) 355
Mélanie Hélène Bonis (1858-1937) 356
Maurice Emmanuel (1862-1938) 358
Claude Debussy (1862-1918) 362
Charles Koechlin (1867-1950) 371
Albert Roussel (1869-1937) 376
Maurice Ravel (1875-1937) 380
André Caplet (1878-1925) 391
Jean Cras (1879-1932) 395
Maurice Delage (1879-1961) 397
Jacques Ibert (1890-1962) 402
Alexis Roland-Manuel (1891-1966) 404
Georges Migot (1891-1976) 405
Arthur Honegger (1892-1955) 410
Darius Milhaud (1892-1974) 413
Jean Rivier (1896-1987) 420
Francis Poulenc (1899-1963) 424
Henri Tomasi (1901-1971) 434
Jean-Yves Daniel-Lesur (1908-2002) 435
Other Composers 439
Conclusion 439
APPENDICES
I. ANNOTATED MUSICAL BIBLIOGRAPHY 441
II. RECITAL PROGRAMS 496
III. SONG TRANSLATIONS 504
IV. SELECTED FRENCH COMPOSERS OF MÉLODIE 542
V. PRIX DE ROME WINNERS IN MUSICAL COMPOSITION 1850-1950 547
VI. SOLOS FOR FLUTE OF THE CONCOURS DU PRIX AT THE PARIS CONSERVATOIRE 1850-1950 552
VII. A CHRONOLOGY OF SELECTED EVENTS IN POLITICAL AND ARTISTIC HISTORY 1850-1950 556
VIII. FLUTE PROFESSORS OF THE PARIS CONSERVATOIRE 1795 - PRESENT 577
BIBLIOGRAPHY 578
_______________________________________
http://www.lib.umd.edu/drum/bitstream/1903/3482/1/umi-umd-3310.pdf