"and violin entitled ""Dans la montagne"", which was played at the Société Nationale. Other significant works followed, including ""Colloque sentimental"" for voice and string quartet (1908); ""Eglogue d'Automne"" for orchestra (1910); ""Vers la Princesse lointaine"", a symphonic poem (1912); ""Aù printemps"" for voice and orchestra; and ""L'Arada"" (""The Earth""), a song cycle of six ""mélodies"" (1922). Canteloube composed his first opera, ""Le mas"" (""The Farmstead"" in Occitan language), to his own libretto from 1910 to 1925 (its composition delayed during the war years). The three-act work won the Prix Heugel in 1925, and was awarded the prize of 100,000 francs."
"thirty years (1924 to 1955) to complete the compilation of his most admired and famous collection of songs, ""Chants d'Auvergne"". These passionate songs reflect the landscapes of the Auvergne in lush orchestral colors and have enabled French folklore and rustic melodies to become better known. He died in Grigny, Essonne, in 1957, aged 78. Joseph Canteloube Marie-Joseph Canteloube de Malaret (; 21 October 18794 November 1957) was a French composer, musicologist, and author best known for his collections of orchestrated folksongs from the Auvergne region, ""Chants d'Auvergne"". Canteloube was born in Annonay, Ardèche, into a family with deep roots in"
"Joseph Canteloube Marie-Joseph Canteloube de Malaret (; 21 October 18794 November 1957) was a French composer, musicologist, and author best known for his collections of orchestrated folksongs from the Auvergne region, ""Chants d'Auvergne"". Canteloube was born in Annonay, Ardèche, into a family with deep roots in the Auvergne region of France. He studied piano from the age of six with Amélie Doetzer, a friend of Frédéric Chopin. After earning his ""baccalauréat"", he worked at a bank in Bordeaux. He returned to his family home in Malaret (Annonay) upon his father's death in 1896, remaining there until his mother's death in"
"who were eager to publicize the folklore and the beauty of their home region. Canteloube himself believed that ""peasant songs often rise to the level of purest art in terms of feeling and expression, if not in form"" (""les chants paysans s’élèvent bien souvent au niveau de l'art le plus pur, par le sentiment et l'expression, sinon par la forme""). He composed several song collections, which include ""Chants de Haute-Auvergne"", albums of songs of Rouergue, Limousin, and Quercy, regional religious songs (""Chants religieux d'Auvergne""), and ""L'Hymne des Gaules"" based on a poem by Philius Lebesque. He also participated in the"
"Dominique Paris, Victor Laroussinie, Didier Pauvert, Stéphane Charpentier, Michel Esbelin, François Lazarevic. They play both regrets(""slow airs""), bourrées (""typical auvergne danse"") and swift, 3/8 dance music. Joseph Canteloube was a well-known composer from Auvergne in the early 20th century, and produced a famous collection of folk music called ""Songs of the Auvergne"". Béarn's revivalist scene has been quite limited in scope, though it has produced the nationally renowned singer Marilis Orionaa. Traditional instruments from the area include the tambour de Béarn, a six-string drum used as a rhythm drone instrument to accompany the three-holed recorder. One of the biggest stars"
"emigrants, deeply influenced the Parisian Bal-musette music. Composer Joseph Canteloube based ""Songs of the Auvergne"" (""Chants d'Auvergne"") (1923–55), his well-known piece for voice and orchestra, on folk music and songs from the Auvergne. Singer-songwriter Georges Brassens composed ""Chanson pour l'Auvergnat"". Composer Camille Saint-Saëns composed ""Rhapsodie d'Auvergne"" in 1884, based upon folk songs from the Auvergne. History of Auvergne The history of the Auvergne dates back to the early Middle Ages, when it was a historic province in south central France. It was originally the feudal domain of the Counts of Auvergne. Auvergne was a province of France deriving its name"
"was five years old. Later he was taught by the organist of the church of Sainte-Eulalie de Bordeaux. On the mobilization of his father in 1914, he was required to earn a living at a very young age. Eventually employed by the Prefecture of Montauban in 1919-1920, he formed a friendship with Joseph Canteloube, a former pupil of Vincent d'Indy. Together they collected and harmonized traditional songs under the title ""Chants d'Auvergne"" (Songs of Auvergne). During this period too he continued his musical education with local organists and himself served as organist at the small church of St-Vincent de Floirac"
"Music of Auvergne Auvergne is a region in France. Its best-known form of folk music is that played on the cabrette (""little goat"" in Auvergnat), a bagpipe made of goatskin. This is used to play swift, 3/8 dance music, slow airs (""regrets"") and other styles. The traditional master Joseph Rouls taught many modern players, including Dominique Paris, Jean Bona and Michel Esbelin. Other styles of music include the shepherd's calls known as ballero. Joseph Canteloube was a well-known composer from Auvergne in the early 20th century, and produced a famous collection of folk music called ""Songs of the Auvergne"". The"
"musicians include Patrick Desaunay and Jean-Louis Murat. Music of Auvergne Auvergne is a region in France. Its best-known form of folk music is that played on the cabrette (""little goat"" in Auvergnat), a bagpipe made of goatskin. This is used to play swift, 3/8 dance music, slow airs (""regrets"") and other styles. The traditional master Joseph Rouls taught many modern players, including Dominique Paris, Jean Bona and Michel Esbelin. Other styles of music include the shepherd's calls known as ballero. Joseph Canteloube was a well-known composer from Auvergne in the early 20th century, and produced a famous collection of folk"
"as the orchestral ""Suite from Henry V"", have been performed in concert. A recording of the score arranged by Christopher Palmer, with actor Christopher Plummer reading the speeches given by the Chorus, Henry V, and the Duke of Burgundy, was released in 1990 under the title ""Henry V: A Shakespeare Scenario"". The score incorporates elements from a well-known vocal adaptation of French folk-songs called ""Chants d'Auvergne"" by Joseph Canteloube. The 2007 re-release of Sir Neville Marriner's recording of the score also includes original versions of earlier music by composers whose works were incorporated into the score, including selections from Canteloube's"
"of the standard repertoire and have been recorded by many singers. The melodic elements of two of these songs, ""Baïlèro"" and ""Obal, din lou limouzi (La-bas dans le limousin)"", were incorporated into William Walton's soundtrack for Laurence Olivier's film ""Henry V"". ""Baïlèro"" (sometimes known as ""Le Baylere"" or ""The Shepherd's Song"") has also been re-arranged for full chorus by Goff Richards for the National Youth Choir of Great Britain. It was recorded by Tony Osborne Sound for use in a Dubonnet advertisement in 1972. Chants d'Auvergne Chants d'Auvergne (; ) is a collection of folk songs from the Auvergne region"
"among others. She recorded ten discs under the Vanguard Classics label. Davrath was fluent in eight languages. Her childhood years may have influenced her attraction to folk music – first in her native country, then later in Israel. These influences are reflected in her performance style; a delicate tone, clarity of enunciation, and agility. Her early recording of Joseph Canteloube's ""Chants d'Auvergne"" is considered by many to be unsurpassed by all who have subsequently revisited them. Netania Davrath Netania Davrath (Нетания Доврат) (12 August 193111 April 1987) was a Soviet-born soprano opera and concert singer. In 1948, Davrath moved to"
"on stylistic grounds . One of these, ""Le mont Aôn de Trace"", is also found in the same Florence manuscript with ""Pluseurs gens voy"" . These twelve works consist of 9 ballades, 2 virelais and a rondeau: Anonymous in the source, but attributable on stylistic grounds: All of Solage's works have been recorded by Gothic Voices on the Avie Records label. Solage Solage (or Soulage), possibly Jean So(u)lage (fl. late 14th century) was a French composer, and probably also a poet. He composed the most pieces in the Chantilly Codex, the principal source of music of the ""ars subtilior"", the"
"invented an improved system of musical notation and may have been the first composer of the isorhythmic motet. The other important development was the extremely complex and sophisticated art of secular song which flourished in Avignon at the very end of the 14th century (see ars subtilior). The earliest known French-language song is Le Carillon de Vendôme, dating from the early 15th century. The move of the center of musical activity from Paris to Burgundy defines the beginning of the musical Renaissance in France. The political instability under weak kings, and continued dismemberment and acquisition of territory by the English"
"jour - Mamy Margot - O Gué - Pierre B.- Les Pelerins 1er Air - 2e Air - Boire a son tour - je suis encor - Bransle de Metz - On dit - Allons - La Tétard - Menuet Allemand. Although he came from Germany, Guilain's musical style appears to be in the pure French tradition. A single collection of organ pieces (""Pièces d'orgue pour le Magnificat sur les huit tons différents de l'église"") was published in 1706 in two volumes, of which only one is now extant. The full collection included eight suites of pieces for use with"
"creation of the Bardic College of Gaul. In 1941, he joined the government in Vichy France during the Nazi occupation, and wrote in the monarchist newspaper ""Action Française"". He participated in numerous radio broadcasts of French folklore with his ""Songs of France"" with the tenor Christian Selva. The radio was an ideal vehicle for disseminating regional popular music. Alongside his career as a composer, Canteloube worked as a musicologist, collecting traditional French folksongs, which were published by Didier and Heugel. He also wrote biographies of Vincent d'Indy (1949) and of his friend Déodat de Séverac (1950). Canteloube took more than"
"in 1539, it was reprinted throughout Europe for many years after, becoming the most often reprinted madrigal book of the entire era. Stylistically, the music in both Arcadelt's and Verdelot's books was more akin to the French chanson than either the Italian frottola or the sacred music of the time, such as the motet. This may be unsurprising considering that the native language of both Arcadelt and Verdelot was French, and both had written chansons themselves when in their homeland; however, they were carefully attentive to text setting, in keeping with the ideas of Bembo, and they through-composed the music,"
"Christmas song ""Morgen kommt der Weihnachtsmann"". His ""Unpolitische Lieder"", ""Deutsche Lieder aus der Schweiz"" (""German Songs from Switzerland"") and ""Streiflichter"" (""Highlights"") are mainly interesting in relation to the movements of the age in which they were written. As a student of ancient Teutonic literature, Hoffmann von Fallersleben ranks among the most persevering and cultivated of German scholars, some of the chief results of his labors being embodied in his ""Horae Belgicae"", ""Fundgruben für Geschichte deutscher Sprache und Literatur"" (""Sources for the History of German Language and Literature""), ""Altdeutsche Blätter"" (""Old German Papers""), ""Spenden zur deutschen Literaturgeschichte und Findlinge"". Among his"
"decasyllabic lines followed by tetrasyllabic single-line refrain and a final decasyllabic line without rhyme. The language of the poem is heavily influenced by the Occitan of the troubadours and the courtly love lyric. The poem is preserved in four manuscripts. It was first brought to light by in 1821, when he redacted it for publication from a manuscript in the archives of the church of Àger. Villanueva found it entitled ""Planctus Sanctae Mariae virginis"". Its language (whether Occitan or Catalan) became at once an issue of debate. The first two lines of the second stanza are a direct translation of"
"as Isabelle Aboulker, Françoise Choveaux, Suzanne Joly, Alain Feron, Anthony Girard, Wally Karveno, Philippe Malhaire, Max Pinchard, Jean-Christophe Rosaz; the American Dianne Goolkasian Rahbee, Joni Greene, Isaac Schankler, the Belgian Marcel Cominotto, the Swiss Jean-Luc Darbellay, the New Zealander Edwin Carr, the Dutch composer Harry Cox, the Romanian Horia Surianu and the Australians Houston Dunleavy, Peter Tahourdin, Robert Trumble and Felix Werder. Top has recorded Massenet song cycles (BNL), romances of de Coussemaker (R.C.P.), art songs of Émile Goué (SyPr) and melodies of Claude Guillon-Verne (1879–1956), nephew of Jules Verne (1828–1905) (Azur Classical). “Diapason magazine” lauded him for his “impeccable"
"(Johannes-Passion), BWV 245 St. Matthew Passion (Matthäus-Passion), BWV 244 Barber Knoxville: Summer of 1915, Op. 24 Beethoven Egmont, Op. 84 Mass in C, Op. 86 Missa Solemnis, Op. 123 Symphony No. 9, Op. 125 Britten Les Illuminations, Op. 18 Spring Symphony, Op. 44 War Requiem, Op. 66 Brahms Ein deutsches Requiem, Op. 45 Bruckner Psalm 150, WAB 38 Te Deum in C major, WAB 45 Copland Eight Songs of Emily Dickinson Canteloube Chants d'Auvergne (Songs of the Auvergne) Dvorák Requiem in B-flat minor, Op. 89, B. 165 Stabat Mater, Op. 58 Te Deum, Op. 103 Gounod Christmas Oratorio St. Cecilia"
"for example in the papal choir. The most prominent secular forms used by the Burgundians were the four ""formes fixes"" (rondeau, ballade, virelai, and bergerette), all generically known as chansons. Of the four, the rondeau was by far the most popular; at any rate more rondeaux have survived than any other form. Most of the rondeaux were in three voices, and in French, though there are a few in other languages. In most of the rondeaux, the uppermost voice (the ""superius"") was texted, and the other voices were most likely played by instruments. The bergerette was developed by the Burgundians"
"songs it contains. The monastery holds the shrine of the Virgin of Montserrat, which was a major site of pilgrimage during the time it was compiled. The purpose of the compilation is made clear by its anonymous compiler himself: The songs, therefore, were written for the pilgrims to have something appropriately ""chaste and pious"" to sing and dance to (round-dance). The songs are in Catalan, in Occitan and in Latin. While the collection was written near the end of the 14th century, much of the music in the collection appears from its style to originate earlier; the motet "" Imperayritz"
"he spent much of the rest of his rather short life. His native south was a region that attracted a number of his contemporaries—artists and poets he had met in Paris. His opera ""Héliogabale"" was produced at Béziers in 1910. He died in Céret, Pyrénées-Orientales, Roussillon. Séverac is noted for his vocal and choral music, which includes settings of verse in Occitan (the historic language of Languedoc) and Catalan (the historic language of Roussillon) as well as French poems by Verlaine and Baudelaire. His compositions for solo piano have also won critical acclaim, and many of them were titled as"
"Italian, Russian, Korean, Flemish and Polish). A shorter version in English was performed in 2000 in Las Vegas, Nevada (United States) and a full-length London production, also in English, ran for seventeen months. Several songs from the show, such as ""Vivre"", ""Belle"" and ""Le temps des cathédrales"", have been released as singles with a huge success in French speaking countries. ""Notre-Dame de Paris"", according to the ""Guinness Book of Records"", had the most successful first year of any musical ever. The score has been recorded at least seven times to date (2007): the original French concept album, which featured Israeli"
"of Olivier in the opera ""Dr Couteau"" by David Chisholm and in 2002, a four track CD, ""Four Songs""; French Poetry set to music by Alain Jacques with James Cannon playing guitar. The following year he recorded ""Florilège vol. 1"", a further album of 12 French poems, again with Jacques and with the guitar accompaniment of Melchior Martin; songs from the album were played on Special Broadcasting Service Radio in Australia. In 2006, with Jacques as artistic director, he recorded an album of 13 popular French songs: ""Beloved Songs of France"". Later he recorded two albums of Jacques' songs: ""Florilège"
"languor""), meant that it would start within 48 hours and that the resistance should begin sabotage operations especially on the French railroad system; these lines were broadcast on 5 June at 23:15. Chanson d'automne ""Chanson d'automne"" (""Autumn Song"") is a poem by Paul Verlaine, one of the best known in the French language. It is included in Verlaine's first collection, ""Poèmes saturniens"", published in 1866 (see 1866 in poetry). The poem forms part of the ""Paysages tristes"" (""Sad landscapes"") section of the collection. In World War II lines from the poem were used to send messages from Special Operations Executive"
"""Historia Albigensis"" of Pierre des Vaux-de-Cernay and the ""Chronica"" of William of Puylaurens being the others. There is a single surviving manuscript of the whole ""Song"" (fr. 25425 in the Bibliothèque nationale), written in or around Toulouse about 1275. The first was written by William of Tudela (he names himself as ""maestre W."" in ""laisses"" 1 and 9). The author also names the date of the beginning of the composition, as 1210 (""laisse"" 9). It comprises the first 2749 lines, in 130 ""laisses"" (rhymed stanzas of varying length), and takes the story to the beginning of 1213. It is strongly"
"invited very prestigious people like the violinist Henri Vieuxtemps or the oboist player Stanislas Verroust to perform. On 5 December 1832 his Romance for two voices was performed: an ""Air varié"" for oboe, ""Chant"" for two voices ""a cappella"" and an ""Air"" for soprano with accompaniment by an orchestra. He also left manuscripts such as an essay about musical composition and fugue and an essay about harmony, which have apparently both been lost. Edmond de Coussemaker sang regularly in his region (Belle, Aire-sur-la-Lys, Kassel…), interpreting his own melodies or the fashionable ""airs lyriques"". Even an opera was performed, ""Le Diamant"
"States, and Asia. He is frequently invited to appear by radio networks, academies, universities and conservatories in France and overseas. Constantly exploring the “alchemy of sound,” the composer’s catalog comprises more than seventy works for various instrumental and vocal ensembles, including Etoilé (harpsichord and quintet), Sève (alto saxophone and piano), Souffle (fourteen instruments), Azur (piano), Aube (organ and chamber orchestra), Cendres d’ailes (tenor and piano) and a string trio and quartet. His principal publishers are Billaudot, Lemoine, Universal, and Symétrie. He has received commissions from the Ministère de la Culture, Radio France, Conservatoire National Supérieur de Musique de Paris, the"
"containing all 150 canonical Psalms, plus the gospel canticle ""Cantique de Siméon"" (""Song of Simeon""), appeared in 1562. The French psalms were set to Gregorian and popular, secular, sometimes unpublished melodies that were harmonized and altered for congregational singing. Music for the Genevan psalter was furnished by Loys Bourgeois and others like Guillaume Franc and a certain Maistre Pierre. The composer Claude Goudimel harmonized these melodies with great variation in the complexity of the music. In some cases each part matches note for note, while others are contrapuntal or even motets. Even more elaborate musical arrangements were composed in the"
"Solage Solage (or Soulage), possibly Jean So(u)lage (fl. late 14th century) was a French composer, and probably also a poet. He composed the most pieces in the Chantilly Codex, the principal source of music of the ""ars subtilior"", the manneristic compositional school centered on Avignon at the end of the century. Nothing is known about Solage's life, beyond what can be inferred from the texts to his music. Even his name is a puzzle. One possibility is that the single name ""Solage"" is a nickname or pseudonym, similar to others known from the period, such as Grimace or Hasprois ."
"student of Harry Puddicombe, ultimately joining the conservatory's faculty. After the conservatory closed in 1937, he joined the faculty of the University of Ottawa where he taught courses in piano, singing, and business. In 1942 he became a voice teacher at the Benedictines of St-Benoît-du-Lac. In 1931 Beaulieu founded the Petits Chanteurs céciliens, a musical ensemble dedicated to performing Canadian folk music. He served as the ensemble's director through 1943 and for this group he arranged many Canadian folk songs from his collection. He published several books of Canadian folk song collections, including ""Chantez, les petits"" (Thompson 1960), the eight-volume"