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Reynaldo Hahn
Reynaldo Hahn
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Le rossignol éperdu (1)
1.
Le rossignol éperdu - Première Suite -- I. Frontispice
2.
Le rossignol éperdu - Première Suite -- II. Andromède résignée
3.
Le rossignol éperdu - Première Suite -- III. Douloureuse rêverie dans un bois de sapins
4.
Le rossignol éperdu - Première Suite -- IV.Le Bouquet de Pensées
5.
Le rossignol éperdu - Première Suite -- V. Soleil d'automne
6.
Le rossignol éperdu - Première Suite -- VI. Gretchen
7.
Le rossignol éperdu - Première Suite -- VII.Les Deux Écharpes
8.
Le rossignol éperdu - Première Suite -- VIII.Liebe!Liebe!
9.
Le rossignol éperdu - Première Suite -- IX. Éros caché dansLes bois
10.
Le rossignol éperdu - Première Suite -- X.La Fausse Indifférence
11.
Le rossignol éperdu - Première Suite -- XI. Chanson de Midi
12.
Le rossignol éperdu - Première Suite -- XII. Antiochus
13.
Le rossignol éperdu - Première Suite -- XIII. Never More
14.
Le rossignol éperdu - Première Suite -- XIV. Portrait
15.
Le rossignol éperdu - Première Suite -- XV.L'Enfant au Perroquet
16.
Le rossignol éperdu - Première Suite -- XVI.Les Rêveries du Prince Églantine
17.
Le rossignol éperdu - Première Suite -- XVII. Ivresse
18.
Le rossignol éperdu - Première Suite -- XVIII.L'Arome suprême
19.
Le rossignol éperdu - Première Suite -- XIX: Berceuse féroce
20.
Le rossignol éperdu - Première Suite -- XX. Passante
21.
Le rossignol éperdu - Première Suite -- XXI.La Danse deL'Amour et deL'Ennui
22.
Le rossignol éperdu - Première Suite -- XXII. Ouranos
23.
Le rossignol éperdu - Première Suite -- XXIII.Le Héliotropes du Clos-André
24.
Le rossignol éperdu - Première Suite -- XXIV. Effet de nuit surLa Seine
25.
Le rossignol éperdu - Première Suite -- XXV. Per i piccoli canali
26.
Le rossignol éperdu - Première Suite -- XXVI. Mirage
27.
Le rossignol éperdu - Première Suite -- XXVII. La Danse de l'Amour et du Danger
28.
Le rossignol éperdu - Première Suite -- XXVIII. Matinée parisienne
29.
Le rossignol éperdu - Première Suite -- XXIX. Chérubin tragique
30.
Le rossignol éperdu - Première Suite -- XXX. Les Chênes enlacés
31.
Le rossignol éperdu - Orient -- XXXI. En caïque
32.
Le rossignol éperdu - Orient -- XXXII. Narghilé
33.
Le rossignol éperdu - Orient -- XXXIII. Les Chiens de Galata
34.
Le rossignol éperdu - Orient -- XXXIV. Rêverie nocturne sur le Bosphore
35.
Le rossignol éperdu - Orient -- XXXV. La Rose de Blida
36.
Le rossignol éperdu - Orient -- XXXVI. L'Oasis (Biskra)
37.
Le rossignol éperdu - Carnet de voyage -- XXXVII. L'Ange Verrier
38.
Le rossignol éperdu - Carnet de voyage -- XXXVIII. Le Jardin de Pétrarque
39.
Le rossignol éperdu - Carnet de voyage -- XXXIX. La Nativité
40.
Le rossignol éperdu - Carnet de voyage -- XL. Faunesse dansante
41.
Le rossignol éperdu - Carnet de voyage -- XLI. Les Noces du Duc de Joyeuse
42.
Le rossignol éperdu - Carnet de voyage -- XLII. Le Petit Mail
43.
Le rossignol éperdu - Carnet de voyage -- XLIII. Les Pages d'Élisabeth
44.
Le rossignol éperdu - Carnet de voyage -- XLIV. La Jeunesse et l'Eté
45.
Le rossignol éperdu - Carnet de voyage -- XLV. Vieux bahuts
46.
Le rossignol éperdu - Versailles -- XLVI. Hommage à Martius
47.
Le rossignol éperdu - Versailles -- XLVII. La Reine au Jardin
48.
Le rossignol éperdu - Versailles -- XLVIII. Le Réveil de Flore
49.
Le rossignol éperdu - Versailles -- XLIX. Le Banc songeur
50.
Le rossignol éperdu - Versailles -- L. La Fête de Terpsichore
51.
Le rossignol éperdu - Versailles -- LI. Adieux au soir tombant
52.
Le rossignol éperdu - Versailles -- LII. Hivernale
53.
Le rossignol éperdu - Versailles -- LIII. Le Pèlerinage inutile
Le rossignol éperdu: no 10, La fausse indifférence (1)
Le rossignol éperdu: no 21, La danse de l'amour et de l'ennui (1)
Biography
Reynaldo Hahn is often considered an archetypal French composer -- a product of effective French music education coupled with the cosmopolitan atmosphere of Paris. The fact that Hahn was not actually French (he was born in Caracas, Venezuela) has never deterred this notion -- even among the nationalistic French -- since he made Paris his home for nearly his entire life. Today, as he was during his life, he is best known for his vocal works, ranging from serious opera and operetta to solo songs. His affinity for both the stage and the human voice eventually led to his appointment in 1945 as director of the Paris Opéra.
Hahn's parents were of German and Venezuelan extraction; when he was three years old the family relocated to Paris, where Hahn entered the Paris Conservatoire in 1886. He studied harmony with Théodore Dubois, piano with Decombes and composition with Jules Massenet. Massenet's influence is clear in one of Hahn's earliest, and most famous, songs, Si mes vers avaient des ailes (If my verses had wings); written when the composer was only 13, it is a charming setting of verses by Victor Hugo. The combined forces of Massenet's advocacy on his behalf (enough to have his cycle of songs on the poetry of Paul Verlaine, Chansons grises, published in 1893) and Hahn's own fine singing voice (enabling him to accompany himself in salons and concert halls) helped to establish his reputation in the city.
Early in his career, Hahn made the acquaintance of Sarah Bernhardt and Marcel Proust; Proust, especially, would instill in Hahn a deep appreciation and understanding of poetry, which had a profound effect on Hahn's approach to vocal composition. Hahn once wrote, "The genuine beauty of singing consists in a perfect unison, an amalgam, a mysterious alloy of the singing and the speaking voice, or to put it better, the melody and the spoken word." Hahn found himself seduced by the poetry of Victor Hugo, Théophile Gautier, and Paul Verlaine; he put his efforts toward creating musical phrasing and rhythmic gestures that would allow the words to speak for themselves. Hahn believed that "[o]nly form can give a piece a chance of lasting...." This perhaps explains his predilection for the older, repetitive formal structures evident in some of his songs, such as "L'automne" (Autumn), "Le printemps" (Spring), and "Quand je fus pris au pavillion" (When I was Lured to her Pavilion).
Hahn's first stage composition was incidental music for Daudet's L'obstacle in 1890; his first opera to reach the stage was the three-act L'île du rêve, performed in Paris at the Opéra-Comique in 1898; a more successful serious opera appeared in 1935 (Le marchand de Venise, in three acts, with a libretto by Zamacoïs, after Shakespeare). Notably, with Le marchand de Venise, Hahn deliberately returned to the "old-fashioned" division between musical numbers and recitatives and returned the orchestra to a purely accompanimental role. Hahn's most important ballet, Le dieu bleu, was composed in 1912 for Diaghilev's company (to a scenario by Cocteau and Madrazo). By far, Hahn's most successful theater piece is his operetta Ciboulette; it premiered to instant acclaim in Paris in 1923, and has received innumerable performances since.
As a conductor and impresario at the Paris Opéra, Hahn favored the operas of Mozart; he found the earlier composer so fascinating, in fact, that he composed a musical comedy on his life (Mozart, 1925), in which he included pastiches of Mozart's own music.
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