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PIERRE D ASSY Airs et’ mélodies MENU Tracklist p.4 Français p.12 English p.22 Nederlands p.30 Deustch p.40 CD1 Giacomo MEYERBEER (1791-1864) 1 « Voici donc les débris du monastère » – « Nonnes, qui reposez sous cette froide pierre », 3’14 Scène et Évocation de Bertram, dans Robert le Diable (III, 7) Gramophone 3-32833, matrice 5857h ; Paris, 1908 [K138] [KBR Becko V/242/4Mus] 2 « Pour les couvents » – « Piff, paff, pouff », 3’08 Chanson huguenote de Marcel, dans Les huguenots (I, 3) Gramophone 3-32857, matrice 6232h ; Paris, 1908 [K182] [KBR Becko V/51/1Mus] 3 « Des troubles renaissants » – « Pour cette cause sainte », Conjuration, 4’11 dans Les huguenots (IV, 3), Saint-Bris avec la soprano Marthe BAKKERS (Valentine), le baryton Émile BOUSSAGOL (Nevers) et chœur Gramophone 034032, matrice 885i ; Paris, 1908 [K273] [GC] 4 « Gloire au grand dieu vengeur ! », Bénédiction des poignards, 3’55 dans Les huguenots (IV, 5), Saint-Bris avec chœur Gramophone 032108, matrice 0865v ; Paris, 2 décembre 1908 [K182] [KBR Becko V/132/8Mus] 5 « En chasse », Chant du chasseur, dans Le pardon de Ploërmel (III, 1) 3’26 Gramophone 032113, matrice 08961/2v ; Paris, 10 février 1909 [K182] [KBR Becko V/10/4Mus] 6 « Adamastor, roi des vagues », Ballade de Nélusko, dans L’Africaine (III, 2), avec chœur 3’34 Gramophone 032162, matrice 01073v ; Paris, 8 juin 1909 [K184] [KBR Becko V/16/2Mus] 7 « Brama ! Vichnou ! Shiva ! », Scène du Grand Brahmine, dans L’Africaine (IV, 3), avec chœur 3’23 Gramophone 032153, matrice 0926v ; Paris, 24 mars 1909 [K184] [KBR Becko V/131/2Mus] Fromental HALÉVY (1799-1862) 8 « Vous qui du dieu vivant outragez la puissance », Anathème de Brogni, dans La juive (III, 2) 3’11 Gramophone 3-32814, matrice 5860h ; Paris, 1908 [K137] [KBR Becko V/242/4Mus] Giuseppe VERDI (1813-1901) 9 « Et toi, Palerme », Air de Jean de Procida, dans Les vêpres siciliennes (II, 1), dir. Alfred FOCK 4’11 Gramophone 032104 ; matrice 0861v ; Paris, 30 novembre 1908 [K182] [KBR Becko V/132/5Mus] Charles GOUNOD (1818-1893) 10 « Mais ce dieu que peut-il pour moi », Scène et Duo, 3’58 dans Faust (I, 1-2), 1ère partie, Méphistophélès avec le ténor Antonio ROCCA (Faust) Gramophone 034024, matrice 832i ; Paris, 1908 [K272] [KBR Becko V/64/1Mus] 4 11 « À moi les plaisirs », Scène et Duo, 3’47 dans Faust (I, 1-2), 2e partie, Méphistophélès avec le ténor Antonio ROCCA (Faust) Gramophone 034025, matrice 833i ; Paris, 1908 [K272] [KBR Becko V/64/1Mus] 12 « Le veau d’or est toujours debout », Ronde de Méphistophélès, dans Faust (II, 3) 1’59 Gramophone 3-32812, matrice 5858h ; Paris, 1908 [K137] [KBR Becko V/242/2Mus] 13 « Seigneur, daignez permettre à votre humble servante », Scène de l’église, dans Faust 3’49 (IV, 2e tableau), 1re partie, Méphistophélès avec la soprano Berthe AUGUEZ DE MONTALANT (Marguerite) et chœurs Gramophone 0304030, matrice 0844v ; Paris, 4 novembre 1908 [K273] [ULB Strouk E37] 14 « Quand du seigneur », Scène de l’église, dans Faust (IV, 2e tableau), 2e partie, 4’23 Méphistophélès avec la soprano Berthe AUGUEZ DE MONTALANT (Marguerite) et chœurs Gramophone 0304031, matrice 0845 ; Paris, 4 novembre 1908 [K273] [KBR Becko V/163/1Mus] 15 « Vous qui faites l’endormie », Sérénade de Méphistophélès, dans Faust (IV, 3e tableau, 3) 2’52 Gramophone 3-32813, matrice 5859h ; Paris, 1908 [K137] [KBR Becko V/242/2Mus] 16 « Alerte, alerte, ou vous êtes perdus ! », Trio fi nal, dans Faust (V, 4e tableau, 3), 2’58 Méphistophélès avec la soprano Berthe AUGUEZ DE MONTALANT (Marguerite) et le ténor Antonio ROCCA (Faust) Gramophone 34208, matrice 64971/2h ; Paris, octobre 1908 [KBR Becko V/107/1Mus] Ernest REYER (1823-1909) 17 « Au nom du roi Gunther », Scène de Hagen, dans Sigurd (III, 6), avec chœur 2’51 Gramophone 4-32032, matrice 14512u ; Paris, 26 mars 1909 [K145] [KBR Becko V/132/11Mus] Jules MASSENET (1842-1912) 18 « Astres étincelants que l’infi ni promène », Air de Phanuel, dans Hérodiade (III, 1er tableau, sc. 8) 3’38 Gramophone 032154 ; matrice 0932v ; Paris, 25 mars 1909 [K184] [KBR Becko V/131/2Mus] 19 « Aux troupes du sultan qui menaçaient Lahore » – « Promesse de mon avenir », 3’55 Récit et Arioso de Scindia, dans Le roi de Lahore (IV, 2) Gramophone 032081, matrice 831i ; Paris, 1908 [K181] [KBR Becko V/132/1Mus] Émile PALADILHE (1844-1926) 20 « Pauvre martyr obscur », Air de Rysoor, dans Patrie ! (IV, 6), dir. Alfred FOCK 4’06 Gramophone 032109, matrice 0869v ; Paris, 7 décembre 1908 [K182] [KBR Becko V/132/5Mus] TT : 71’35 5 CD2 Wolfgang Amadeus MOZART (1756-1791) 1 « Isis, c’est l’heure » [« O Isis und Osiris »], Air de Sarastro, dans La fl ûte enchantée (II, 1) 3’10 Gramophone 3-32851, matrice 6231h ; Paris, 1908 [K138] [KBR Becko V/51/1Mus] Gioacchino ROSSINI (1792-1868) 2 « C’est d’abord rumeur légère », Air de la calomnie de Don Basilio, dans Le barbier de Séville (I, 8) 3’55 Gramophone 032082, matrice 829i ; Paris, 1908 [K181] [KBR Becko V/132/7Mus] Fromental HALÉVY (1799-1862) 3 « Voilà le sorcier », Chanson du chevrier Jacques Sincère, dans Le val d’Andorre (I, 4) 3’58 Gramophone 032114, matrice 0897v ; Paris, 10 février 1909 [K182] [KBR Becko V/10/4] Adolphe ADAM (1803-1856) 4 « Il faut me céder ta maîtresse », Duo, dans Le chalet (sc. 13), 1re partie, 3’27 Max, avec le ténor Georges RÉGIS (Daniel) Gramophone 034035, matrice 0847v ; Paris, 5 novembre 1908 [K273] [KBR Becko V/138/2Mus] 5 « Dans ce bois de sapin », Cantabile et Allegro, dans Le chalet (sc. 13), 2e partie, 3’48 Max, avec le ténor Georges RÉGIS (Daniel) Gramophone 034037, matrice 0848v ; Paris, 5 novembre 1908 [K273] [KBR Becko V/138/2Mus] Hector BERLIOZ (1803-1869) 6 Chanson de Brander et Fugue, dans La damnation de Faust (Deuxième partie), avec chœur 4’05 Gramophone 032155 ; matrice 0925v ; Paris, 24 mars 1909 [K184] [KBR Becko V/10/6Mus] Ambroise THOMAS (1811-1896) 7 « Légères hirondelles », Duo, dans Mignon (I, 8), 3’03 Lothario, avec la mezzo-soprano Suzanne BROHLY (Mignon), dir. Alfred FOCK Gramophone 34217, matrice 14154u ; Paris, 7 décembre 1908 [K265] [KBR Becko V/138/1Mus] 8 « As-tu souffert ? As-tu pleuré ? », Duo, dans Mignon (II, 2e tableau, 2), 3’05 Lothario, avec la mezzo-soprano Suzanne BROHLY (Mignon), dir. Alfred FOCK Gramophone 34218, matrice 14155u ; Paris, 7 décembre 1908 [K265] [KBR Becko V/138/1Mus] Charles GOUNOD (1818-1893) 9 « Au bruit des lourds marteaux », Couplets de Vulcain, dans Philémon et Baucis (I, 4) 3’06 Gramophone 3-32932, matrice 14125u ; Paris, 30 novembre 1908 [K141] [GC] 6 10 « Si les fi lles d’Arles sont reines », Air d’Ourrias, dans Mireille (II, 6), dir. Alfred FOCK 3’48 Gramophone 032080, matrice 830i ; Paris, 1908 [K181] [KBR Becko V/132/1Mus] 11 « Voici le val d’enfer », Air d’Ourrias, dans Mireille (III, 1), avec chœur 3’49 Gramophone 032164, matrice 01076v ; Paris, 9 juin 1909 [K184] [KBR Becko V/166/1Mus] 12 « Allons jeunes gens », Air de Capulet, dans Roméo et Juliette (I, 1) 2’25 Gramophone 3-32858, matrice 6233h ; Paris, 1908 [K138] [ULB Strouk E37] Victor MASSÉ (1822-1884) 13 « Margot, lève ton sabot », Chanson de Jean, dans Les noces de Jeannette (sc. 4), avec chœur 2’04 Gramophone 4-32052, matrice 14922u ; Paris, 5 juin 1909 [K145] [KBR Becko V/255/1Mus] Georges BIZET (1838-1875) 14 « Votre toast », Air du toréador Escamillo, dans Carmen (II, 2), avec chœur, dir. Alfred FOCK 4’11 Gramophone 032107II, matrice 886i ; Paris, octobre 1908 [K182] [KBR Becko V/251/2Mus] Henri de MONTOUR (1809-1893) 15 Le muletier de Castille. Cantabile 2’58 Gramophone 4-32031 ; matrice 14504u ; Paris, 25 mars 1909 [K145] [KBR Becko V/255/1 Mus] Gustave NADAUD (1820-1893) 16 Le soldat de Marsala, Gramophone 4-32030, matrice 14498u ; Paris, 24 mars 1909 [K145] [GC] 3’29 Ange FLÉGIER (1846-1927) 17 Le cor, Gramophone, 3-32856, matrice 6230h ; Paris, 1908 [K138] [KBR Becko V/132/9Mus] 3’20 Robert PLANQUETTE (1848-1903) 18 Le régiment de Sambre et Meuse, sous le pseudonyme de BEAUFORT, 3’55 avec la Musique de la Garde républicaine, Zonophone Z-082034, matrice 01108v ; Paris, 16 juin 1909 [K400] [KBR Becko V/139/1Mus] Louis GANNE (1862-1923) 19 Marche lorraine, sous le pseudonyme de BEAUFORT, avec chœur 4’13 Gramophone 0232041, matrice 0933v ; Paris, 29 mars 1909 [KBR Becko V/139/1Mus] Les lieux et dates d’enregistrement proviennent de l’ouvrage d’Alan Kelly TT : 66’53 (cité K, suivi du numéro de page). 7 Provenance des exemplaires numérisés : GC : coll. Georges Cardol KBR : coll. Yves Becko, Fondation Roi Baudouin, en dépôt à la section Musique de la Bibliothèque royale de Belgique ULB : Université libre de Bruxelles, Bibliothèque des Sciences humaines, Fonds Jacques et Hélène Strouk-Serba Références bibliographiques : Conservatoire royal de Musique de Liège, Inventaire des archives du Conservatoire Royal de Musique de Liège / Georges Hansotte. Archives de l’État en Belgique BE-A0523_701514_705942_FRE – Le Mercure musical (La Revue musicale S.I.M.), 9 (15 avril 1913) – Theater Instituut Nederland (éd.), Annalen van de Opera-gezlschappen in Nederland, 1996, pp. 159-193 – CARDOL (G.), Cent ans d’art lyrique à Verviers, Verviers, 1992 – CONTINI (E.), Une ville et sa musique. Les Concerts du Conservatoire royal de Liège de 1827 à 1914, Liège, 1990, p. 112 – KELLY (A.), His Master’s Voice: the French catalogue. A complete numerical catalogue of French gramophone recording made from 1898 to 1929 in France and elsewhere by the Gramophone Company Ltd, Westport, 1990, pp. 137-138, 141, 145, 181-182, 184, 265, 272-273, 396, 400, 420 – KUTSCH (K.
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    British Library: Music Collections PERCY PITT PAPERS: correspondence of Percy Pitt (d. 1932), musical director at Covent Garden, 1902, and the British Broadcasting Company, 1922 (cf. J. D. Chamier, Percy Pitt of Covent Garden and the B... (1892-1932) (Egerton MS 3301-3306) Table of Contents PERCY PITT PAPERS: correspondence of Percy Pitt (d. 1932), musical director at Covent Garden, 1902, and the British Broadcasting Company, 1922 (cf. J. D. Chamier, Percy Pitt of Covent Garden and the B... (1892–1932) Key Details........................................................................................................................................ 1 Provenance........................................................................................................................................ 1 Egerton MS 3304–3306 PERCY PITT PAPERS. Vols. IV–VI. General correspondence, in alphabetical order, consisting chiefly of letters........................................................................................................ 3 Key Details Collection Area British Library: Music Collections Reference Egerton MS 3301-3306 Creation Date 1892-1932 Extent and Format 6 items Languages of Material English; French; German; Italian Title PERCY PITT PAPERS: correspondence of Percy Pitt (d. 1932), musical director at Covent Garden, 1902, and the British Broadcasting Company, 1922 (cf. J. D. Chamier, Percy Pitt of Covent Garden and the B.B.C., 1938); 1892-1932. Six volumes. Folio. (1892-1932) Scope and Content Percy Pitt, conductor and composer: Correspondence: 1892-1932. Music: Correspondence of P. Pitt: 1892-1932. Provenance Legal Status Not Public Record(s) Egerton MS 3301 (8 Aug 1903-1910) Collection Area British Library: Music Collections Reference Egerton MS 3301 Creation Date 8 Aug 1903-1910 Extent and Format 1 item Languages of Material English; German Scope and Content PERCY PITT PAPERS. Vol. I (ff. 278). Letters from Hans Richter, conductor; 8 Aug. 1903-1910. German. Hans Richter, conductor: Correspondence with P.
  • Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip

    Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip

    DETROIT ARMORY Under the Auspices of the Detroit Orchestral Association DIRECTORS EXECUTIVE COMMITTEE WILLIAM H. MURPHY, President NEWTON J. COREY, FREDERICK M. ALGER, Vice-President Secretary and Manager LEW W. BOWEN CHARLES MOORE, Treasurer CHARLES L. FREER SCOTT, Auditor EDWIN S. GEORGE JOHN WILFRED C. LELAND J. HARRINGTON WALKER MAX FIEDLER, Conductor Thirty-first Season, J9H-J9J2 Programme nf % FIRST CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE SATURDAY EVENING, FEBRUARY 3 AT 8J5 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 3B^~??^*ei JAMES E. DEVOE ANNOUNCES First Appearance in Detroit of McCORMACKJOHN The Great Irish Tenor Member of COVENT GARDEN, METROPOLITAN, CHICAGO, and MELBA OPERA COMPANIES Although the life stories of Jenny Lind, Christine Nilson, Adelina Patti, and, in our day, Nellie Melba, abound with many elements of the unexpected, the sensational and the romantic, there is no other instance of a male singer having so suddenly sprung from the musical unknown to universal fame as has John McCormack. McCormack won the immediate and enthusiastic favor of critics and concert-goers when he made his debut at the Manhattan Opera House in 1909 in "La Tosca." Later he appeared with the Metropolitan and Chicago Opera Companies, repeating his first successes. During the pres- ent season he has been adding to his triumphs by appear- ances with the Melba Opera Company in Australia. His American Concert tour opens at Vancouver, February 10, and he will appear in recital at the LIGHT GUARD ARMORY Monday Evening, March 18 The interest being shown in this recital has led Mr.
  • Boston Symphony Orchestra Concert Programs, Season 29,1909

    Boston Symphony Orchestra Concert Programs, Season 29,1909

    CARNEGIE HALL - - NEW YORK Twenty-fourth Season in New York MAX FIEDLER, Conductor programmeb nf % FOURTH CONCERT THURSDAY EVENING, FEBRUARY 24 AT 8.15 AND THE FOURTH MATINEE SATURDAY AFTERNOON, FEBRUARY 26 AT 2.30 WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE COPYRIGHT, 1909 BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESA CARRENO On her tour this season will use exclusively ^** Piano. THE JOHN CHURCH CO., 37 West 33d Street New York City 1 Boston Symphony Orchestra PERSONNEL Twenty- linth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafift, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowica, J. Noack, S. Mahn,F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Fenr, E. Heindl, H. Rennert, B. Kolster, A. Zahn, F. Gietzen, A. Hoyer, H. Kluge, M. Forster, E. Kautzenbach, W Violoncellos. Warnke, H. Nagel, R. Barth, C. Belinski, M. Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns.
  • From the Salons De La Rose†Croix to the Salons D'art Idéaliste

    From the Salons De La Rose†Croix to the Salons D'art Idéaliste

    Lucien Midavaine Music and the Convergence of the Arts in Symbolist Salons: From the Salons de la Rose†Croix to the Salons d’Art Idéaliste Nineteenth-Century Art Worldwide 18, no. 2 (Autumn 2019) Citation: Lucien Midavaine, “Music and the Convergence of the Arts in Symbolist Salons: From the Salons de la Rose†Croix to the Salons d’Art Idéaliste,” Nineteenth-Century Art Worldwide 18, no. 2 (Autumn 2019), https://doi.org/10.29411/ncaw.2019.18.2.5. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Midavaine: Music and the Convergence of the Arts in Symbolist Salons Nineteenth-Century Art Worldwide 18, no. 2 (Autumn 2019) Music and the Convergence of the Arts in Symbolist Salons: From the Salons de la Rose†Croix to the Salons d’Art Idéaliste by Lucien Midavaine Introduction Since the early 1970s, scholarship on symbolism has highlighted the preeminent role of the musical imagination and musical performance in iterations of the movement in France and Belgium. Music was a singular and at times dominant focus for symbolists in both countries. This was particularly true for idealist artists, a subset of the multifaceted symbolist movement, characterized by their link to late nineteenth-century esoterism and the deep influence of German composer Richard Wagner (1813–83) on their work. [1] In the 1890s, most of these artists briefly gravitated around French writer and occultist Joséphin Péladan (1858–1918) before losing their vigor in the decades that followed.