Temps Fort Bicentenaire De La Naissance De Gounod (1818 – 2018)
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Autobiographical Reminiscences with Family Letters and Notes on Music
Autobiographical Reminiscences with Family by Charles Gounod 1 Autobiographical Reminiscences with Family by Charles Gounod The Project Gutenberg EBook of Autobiographical Reminiscences with Family Letters and Notes on Music, by Charles Gounod This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Autobiographical Reminiscences with Family Letters and Notes on Music Author: Charles Gounod Autobiographical Reminiscences with Family by Charles Gounod 2 Translator: W. Hely Hutchinson Release Date: April 10, 2011 [EBook #35812] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK AUTOGIOGRAPHICAL REMINISCENCES *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This book was produced from scanned images of public domain material from the Google Print project.) CHARLES GOUNOD [Illustration: Charles Gounod] CHARLES GOUNOD AUTOBIOGRAPHICAL REMINISCENCES WITH FAMILY LETTERS AND NOTES ON MUSIC FROM THE FRENCH BY THE HON. W. HELY HUTCHINSON [Illustration: colophon] LONDON WILLIAM HEINEMANN 1896 Autobiographical Reminiscences with Family by Charles Gounod 3 [All rights reserved] Printed by BALLANTYNE, HANSON & CO. At the Ballantyne Press CONTENTS CHARLES GOUNOD-- PAGE I. CHILDHOOD 1 II. ITALY 54 III. GERMANY 110 IV. HOME AGAIN 127 LATER LETTERS OF CHARLES GOUNOD 173 BERLIOZ 195 M. CAMILLE SAINT-SAENS AND HIS OPERA "HENRI VIII." 209 NATURE AND ART 225 THE ACADEMY OF FRANCE AT ROME 239 THE ARTIST AND MODERN SOCIETY 253 INTRODUCTION The following pages contain the story of the most important events of my artistic life, of the mark left by them on my personal existence, of their Autobiographical Reminiscences with Family by Charles Gounod 4 influence on my career, and of the thoughts they have suggested to my mind. -
Charles Gounod
1864 VERSION CHARLES GOUNOD FAUST Aljaž Farasin • Carlo Colombara • Marjukka Tepponen Lucio Gallo • Diana Haller • Ivana Srbljan • Waltteri Torikka Croatian National Theatre in Rijeka Opera Orchestra and Choir Ville Matvejeff Act I 24:56 $ Scene 6: Récitatif: Je voudrais bien 1:32 1 Introduction 6:39 (Marguerite) 2 Scene 1: Rien!… En vain j’interroge – % Scene 6: Chanson du Roi de Thulé: Chorus: Ah! Paresseuse fille 8:27 Ile était un roi de Thulé 6:16 (Faust, Maidens, Labourers) (Marguerite) 3 Récitatif: Mais ce Dieu 1:09 ^ Air des bijoux: Charles (Faust) Ah! Je ris de me voir 3:57 4 Scene 2: Duo: Me voici! 8:41 (Marguerite) GOUNOD (Méphistophélès, Faust) & Scene 7: Scène: Seigneur Dieu... – (1818–1893) Scene 8: Dame Marthe Schwerlein 2:57 Act II 27:15 (Marthe, Marguerite, Méphistophélès, Faust) 5 Scene 1: Chœur: Vin ou bière 4:45 * Scene 8: Quatuor: (Students, Wagner, Soldiers, Citizens, Prenez mon bras un moment! 7:22 Faust Maidens, Matrons) (Faust, Marguerite, Méphistophélès, Marthe) 6 Scene 2: Scène: O sainte médaille – ( Scene 10: Scène: Il était temps! 1:47 Opera in five acts (1858) (London version, 1864) Récitatif: Ah! Voici Valentin – (Méphistophélès) Libretto by Jules Barbier (1825–1901) and Michel Carré (1822–1872) Invocation: Avant de quitter ces lieux – ) Scene 11: Duo: Il se fait tard – Scene 3: Pardon! 6:47 Scene 12: Scene: Tête folle! – Additional text by Onésime Pradère (1825–1891) (Valentin, Wagner, Siébel, Students, Méphistophélès) Scene 13: Il m’aime 13:53 Sung in French 7 Ronde du Veau d’or: (Marguerite, Faust, Méphistophélès) Le veau d’or est toujours debout! 1:56 (Méphistophélès, Siébel, Wagner, Chorus) Act IV 46:13 Faust .............................................................................................. -
Famous Composers and Their Music
iiii! J^ / Digitized by the Internet Archive in 2011 with funding from Brigham Young University http://www.archive.org/details/famouscomposerst05thom HAROLD BLEBLffiR^^ PROVO. UTAH DANIEL FRANCOIS ESPRIT AUBER From an engraving by C. Deblois, 7867. 41 .'^4/ rii'iiMia-"- '^'', Itamous COMPOSERS AND THEIR MUSIC EXTRA ILLUSTPATED EDITION o/' 1901 Edited by Theodore Thomas John Knowlej Paine (^ Karl Klauser ^^ n .em^fssfi BOSTON M'^ J B MILLET COMPANY m V'f l'o w i-s -< & Copyright, 1891 — 1894— 1901, By J. B. Millet Company. DANIEL FRANCOIS ESPRIT AUBER LIFE aiore peaceful, happy and making for himself a reputation in the fashionable regular, nay, even monotonous, or world. He was looked upon as an agreeable pianist one more devoid of incident than and a graceful composer, with sparkling and original Auber's, has never fallen to the ideas. He pleased the ladies by his irreproachable lot of any musician. Uniformly gallantry and the sterner sex by his wit and vivacity. harmonious, with but an occasional musical dis- During this early period of his life Auber produced sonance, the symphony of his life led up to its a number of lietier, serenade duets, and pieces of dramatic climax when the dying composer lay sur- drawing-room music, including a trio for the piano, rounded by the turmoil and carnage of the Paris violin and violoncello, which was considered charm- Commune. Such is the picture we draw of the ing by the indulgent and easy-going audience who existence of this French composer, in whose garden heard it. Encouraged by this success, he wrote a of life there grew only roses without thorns ; whose more imp^i/rtant work, a concerto for violins with long and glorious career as a composer ended only orchestra, which was executed by the celebrated with his life ; who felt that he had not lived long Mazas at one of the Conservatoire concerts. -
The Seven Last Words of Christ
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 The seven last words of Christ : a comparison of three French romantic musical settings by Gounod, Franck, and Dubois Vaughn Roste Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Roste, Vaughn, "The es ven last words of Christ : a comparison of three French romantic musical settings by Gounod, Franck, and Dubois" (2013). LSU Doctoral Dissertations. 3987. https://digitalcommons.lsu.edu/gradschool_dissertations/3987 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SEVEN LAST WORDS OF CHRIST: A COMPARISON OF THREE FRENCH ROMANTIC MUSICAL SETTINGS BY GOUNOD, FRANCK, AND DUBOIS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Vaughn Roste B.A., Augustana University College, 1997 B.B.A, Canadian Lutheran Bible Institute, 1997 M.Mus., University of Alberta, 2003 May 2013 ii DEDICATION Writing a dissertation is a project not completed by one person but by several. I need to thank my family—Mom, Dad, Erica, Ben, Finn, and Anders—for their love and undying support through this convoluted and seemingly never-ending process. -
Palazzetto Bru Zane -Ciclo Gounod
La sua musica è divina tanto quanto la sua persona è nobile e distinta. Gounod è giustamente considerato l’apostolo di un romanticismo lirico, sensuale e seduttivo. Dal rapito stupore dell’«aria dei gioielli» del Faust CICLO Gounod ha un al candore pastorale di Mireille passando per la voluttuosità della scena del giardino in Roméo et Juliette, il compositore ha saputo cogliere immenso avvenire. e tradurre in musica i palpiti dell’anima umana vittima dell’amore, CHARLES Pauline Viardot sia esso folgorante o contrastato. Ma Gounod non fu solo il cantore del desiderio: l’obiettivo del ciclo che il Palazzetto Bru Zane gli dedica è appunto mostrarne tutti i diversi aspetti. E dunque, composizioni GOUNOD, poco note (il Concerto per pianoforte con pedaliera, la trascrizione da Mozart per coro a cappella) affiancheranno un evento quale la prima creazione in tempi moderni della sua ultima opera lirica, Le Tribut (1818-1893) de Zamora; al contempo, verrà rivolto uno sguardo nuovo a brani più famosi, in particolare la prima versione del Faust con testi parlati, DALLA CHIESA interpretata con strumenti d’epoca. ALL'OPERA In occasione del bicentenario della nascita del compositore, il Palazzetto Bru Zane si propone di far conoscere meglio un musicista che non fu soltanto l’autore del Faust e di Roméo et Juliette. 17 La sua musica è divina tanto quanto la sua persona è nobile e distinta. Gounod è giustamente considerato l’apostolo di un romanticismo lirico, sensuale e seduttivo. Dal rapito stupore dell’«aria dei gioielli» del Faust CICLO Gounod ha un al candore pastorale di Mireille passando per la voluttuosità della scena del giardino in Roméo et Juliette, il compositore ha saputo cogliere immenso avvenire. -
Memorial Library of Music Collection
http://oac.cdlib.org/findaid/ark:/13030/kt6r29p0pm No online items Partial Guide to the Memorial Library of Music Collection Special Collections staff Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc/ © 2006 The Board of Trustees of Stanford University. All rights reserved. Partial Guide to the Memorial MLM 1 Library of Music Collection Partial Guide to the Memorial Library of Music Collection Collection number: MLM Department of Special Collections and University Archives Stanford University Libraries Stanford, California Processed by: Special Collections staff Date Completed: 2003 Encoded by: Bill O'Hanlon © 2006 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Memorial Library of Music collection Collection number: MLM Collector: Keating, George T. Collection Size: ca. 27 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: This library is a collection of musical manuscripts and of printed and engraved scores inscribed by great composers, and constitutes a unique addition to Stanford's educational and cultural resources. Languages: Languages represented in the collection: English Access Collection is open for research; materials must be requested at least 24 hours in advance of intended use. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Preferred Citation Memorial Library of Music Collection, MLM. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif. -
Charles Gounod a Centennial Tribute
CHARLES GOUNOD A CENTENNIAL TRIBUTE By JULIEN TIERSOT Downloaded from NE HUNDRED YEARS have passed since Charles Gou- nod was born—June 17, 1818—at Paris. It was scarcely O fifteen years ago that musical France celebrated the cen- tenary of another of her glorious children, Hector Berlioz; while the coming quarter-century will furnish numerous occasions for http://mq.oxfordjournals.org/ analogous commemorations, by which the glories of the French School, hitherto too lightly considered, shall be set forth, and its lofty flight during the nineteenth century shall be made manifest. Despite other claims on our attention at this period, it is proper that we should call to mind a time which, in the annals of French art and genius, shines with an unquenchable lustre. The subject is sufficiently remote for us to examine, in its ensemble, the life- work and career of a master who died twenty-five years ago at University of Birmingham on June 8, 2015 (October 17, 1893), and who, variously appraised while living, nevertheless occupied a conspicuous position in the musical specu- lations of the entire world. Let us attempt to make a rapid survey of these topics and, from a distant and commanding point of view, to scan simultaneously the life of the man, the career of the artist, and the productions of the musician. I. The first characteristic trait revealed by this examination is that Gounod was, first and foremost, an artist. To certain minds this statement may seem supererogatory. And, none the less, this trait is not always the most prominent one when certain mas- ters are under consideration. -
Charles Gounod Saint-François D'assise
1 FESTIVAL D’AUVERS-SUR-OISE Le Festival inspiré par Van Gogh « Dans un tableau, je voudrais dire quelque chose de co nsolant comme une musique… » Vincent Van Gogh Opus 36 Didier Hamon, Président Pascal Escande, directeur fondateur Florence de Tézan, déléguée générale Damien Maurice, administration et production Laura Dufrenoy, chargée de communication Deborah Servant, attachée à la production Pierre Jappelle, régisseur général Billetterie Ouverture Adhérents et Abonnés Samedi 19 Mars de 9h à 13h Office de Tourisme d’Auvers-sur-Oise – Parc Van Gogh Ouverture au public Mardi 22 Mars Horaires Lundi : 14h à 18h Mardi au Vendredi : 10h à 13h // 14h à 18h A partir du 9 mai Horaires identiques + Samedi : 10h à 13h RESA Billetterie internet www.festival-auvers.com Par téléphone 01 30 36 77 77 Par email billetterie @festival-auvers.com Par courrier et sur place Espace Festival Manoir des Colombières 95 430 - Auvers-sur-Oise Vente de places sur les lieux de concerts Billetterie ouverte sur place, 1h avant le début des concerts Vente à l’Office de Tourisme d’Auvers-sur-Oise Uniquement pour les concerts des Dimanches Hébergement / Restauration http://www.tourisme-auverssuroise.fr 2 PRESSE SEQUENZA Isabelle Gillouard & Marianne Gaussiat, presse Tél : 01 45 43 77 58 Mobile : Isabelle Gillouard Tél : 06 60 93 16 23 Opus 36// 11 juin – 8 juillet 2016 Compositeur invité Anthony Girard Peintre invité Gaël Davrinche 3 Auvers Opus 36 « A Charles Gounod » « Etre hors du temps ! Vivre des moments uniques mais ô combien éphémères, rencontrer, aimer, aider, -
Charles Gounod Européen »
Gérard CONDÉ, « Charles Gounod européen ». Janvier 2018 Charles Gounod européen Gérard CONDÉ La France Charles Gounod, né à Paris (place Saint-André-des-Arcs) le 17 juin 1818, était le fils du peintre François Gounod et le petit fils du dernier fourbisseur du Roi. Les artisans étant logés dans la galerie du Louvre au même titre que les artistes attachés à la couronne, leurs enfants jouaient ensemble et c’est ainsi que la famille Gounod s’est intégrée naturellement au milieu artistique le plus en vue. Élève au Collège Saint-Louis, Charles chante en solo dans la maitrise dirigée par Hyppolite Mompou, disciple de Choron, qui l’initie aux maîtres anciens. Au Théâtre-Italien, Otello de Rossini avec la Malibran en 1831, Don Giovanni, en 1833 susciteront sa vocation de compositeur. Aux Concerts du Conservatoire, il entend Mendelssohn interpréter, en 1832, le Concerto n° 4 de Beethoven avant d’avoir la révélation de ses symphonies ; il restera jusqu’à la fin de sa vie un fidèle habitué de ce temple du répertoire où ses œuvres ne furent que tardivement à l’honneur. Dans la même salle, il avait pu suivre les répétitions de Berlioz, de Roméo et Juliette notamment. De l’automne 1843 à février 1848, Gounod régnera sur le modeste effectif de l’Église des Missions étrangères (rue Vanneau). Les violences de la Révolution eurent raison de sa vocation religieuse. Pauline Viardot lui ouvrit les portes de l’Académie nationale de Musique en lui obtenant la commande d’un drame dont elle serait l’héroïne. Sapho (1851) eut un succès d’estime et La Nonne sanglante (1854) de curiosité ; La Reine de Saba (1862) sembla trop wagnérienne, Polyeucte (1878) et Le Tribut de Zamora (1881) pas assez ! Paradoxalement, seuls réussirent sur la première scène lyrique Faust et Roméo créés ailleurs. -
Avant Première Catalogue 2019
CATALOGUE 2019 CATALOGUE 2019 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem Layout: mmessner.de All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2019 © UNITEL 2019 All rights reserved Front cover: Asmik Grigorian in Richard Strauss’s “Salome” / Photo: Ruth Walz WE PROUDLY PRESENT OUR NEW UNITEL CATALOGUE AND OUR LINE UP OF SPECIAL CATALOGUES: FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-630 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] Avant PreCATALOGUEmière 2016 Avant PreCATALOGUEmière 2017 CATALOGUE 2018 Avant THE UNITEL 4K UHD CATALOGUE MIPCOM 2018 PreCATALOGUEmière 2015 CATALOGUE Plácido Domingo & Anna Netrebko © Bernd Uhlig in Giuseppe Verdi’s Macbeth DOCUMENTARIES LEONARD NEW PROGRAMMES MIPCOM 2018 BERNSTEIN KARAJAN VS. -
The Operas of Charles Gounod by Nick Fuller
The Operas Of Charles Gounod by Nick Fuller I. Introduction Charles Gounod’s fame rests on one immortal opera, Faust . Roméo et Juliette and Mireille are regularly performed around the world, but many of his other operas were failures, did not hold the stage, or have been forgotten. Nevertheless, his music influenced and was admired by later generations of French composers. Debussy believed that Gounod represented an important stage in the evolution of French sensitivity, and that he modelled for an entire generation the principles of clarity, balance and suavity. Ravel held that the musical renaissance of his day began with Gounod. Saint-Saëns, Massenet and Bizet were his protégés and disciples, while Fauré admired him and César Franck considered Gounod his master. Reynaldo Hahn’s musical trinity was Mozart, Gounod and Saint-Saëns, and called Gounod the French Schubert and Schumann. Tellingly, most of these musicians were not primarily opera composers. It is, to be honest, more difficult to make the case for Gounod as an opera composer than it is for Meyerbeer or Massenet, who ruled the French lyric stage before and after him. Meyerbeer’s operas are rich and imaginative, while the quality and individuality of Massenet’s operas is astonishing. Although even his dramatically most feeble operas contain at least one delightful melody, Gounod’s operas are often less than the sum of their parts. What makes him a good composer of religious music or of mélodies makes him a weaker composer of opera. The problem, as Steven Huebner suggests, may be that Gounod was fundamentally not a dramatic composer; his tastes were too refined for the opera stage. -
My Orphanage and Gounod in England, Tr. by N.N
MY ORPHANAGE AND GOUNOD IN ENGLAND. PART I.— FRIENDSHIP. PART II.— BUSINESS. NARRATIVE BY V GEORGINA WELDON, On her method of Teaching Singing, General Training, and Education of , Children, Published for her •» PERSONAL JUSTIFICATION At the Request of her Friends. TRANSLATED FROM THE FRENCH BY N. N. ENTERED AT STATIONERS' LONDON: THE MUSIC AND ART ASSOCIATION, 23^1 OXFORD STREET, \V. 1882. r, • ALL : RIGHTS RESERVED. • .- r- - ., Qui ! voila le miracle, inegal a tout autre, C'est qu'une bergerette, aveo sa foi d'apotre, Ait eu meilleur secours de ce peuple aux aboia Qu'avec tous leurs tremors lea favoris des roia. Mais quoi ! . cette candeur, a bon droit m^prisee Chez les sages de cour est matiere de ris^e ! ... Prodiguez votre sang, votre dme, votre cosur, D'un peuple agonisant refaites un vainqueur C'est par la calomnie, et I'injure, et la haine Que s'acquitte envers vous Pingratititde humaine, Et le premier effort du serpent irrite C'est de mordre la main qui I'a ressuscite ! Jeanne D'Arc (p. 122), J. P. BARBIEE. Literal Translation. Yes ! 'tis this the miracle unequalled by all other ; a shepherdess with tier apostle's faith has done more towards saving her beaten countrymen than all the treasures of the king's favourites . How now ! 'Tis this which is held up to derision by the wise statesmen of the Court ! Pour forth your blood, your heart, your soul. Give Victory to a people in its death-throes. 'Tii by calumny and abuse and hatred that human ingratitude acquits itself towards you, and the first effort the warmed adder makes, is to sting the hand which has saved it ! PREFACE TO MY ORPHANAGE AND GOUNOD IN ENGLAND.