Of Florent Schmitt’s major compositions, undoubtedly the one that has achieved the greatest fame over the decades is the ballet La Tragédie de Salomé, which Schmitt created for the dancer Loïe Fuller who presented the hour-long “mimed drama” at the Théâtre des Arts (now the Théâtre Hébertot) in Paris in 1907. That original version of […]
Not long ago, I compiled a listing of published biographies, other books and dissertations that cover music and the arts in Paris during the time of Florent Schmitt’s career as a composer (roughly the 70-year period from 1890 to 1960). Among the many documents I discovered, one of the most interesting was one that focused […]
It’s quite likely that many music-lovers who know of French composer Florent Schmitt are most familiar with his “big” pieces scored for large orchestral forces, overlaid with sparkling orchestration in the grandest post-Rimsky tradition. And it’s true that many of Schmitt’s best-known works are just those kinds of compositions — pieces like La Tragédie de Salomé, […]
Regular readers of the Florent Schmitt Website + Blog know that occasionally we “relax the routine” a bit and delve into the artistry of other composers — particularly ones who lived and worked in the same time period as Schmitt. (See, for example, these articles about Stravinsky, Ravel and Zandonai.) Another such person is Max […]
Many music-lovers I know are under the mistaken impression that Florent Schmitt’s Symphony No. 2, Op. 137 was the last piece the composer created. It’s a reasonable supposition because the Symphony received its premiere performance in Strasbourg on June 15, 1958, by the French National Radio Orchestra under the direction of Charles Munch, just two […]
Over the past 20 years, the vast majority of Florent Schmitt’s music for piano solo has been rediscovered by a new generation of music-lovers. Moreover, nearly all of this music has been commercially recorded at least one time. However, one piano composition, Pupazzi, Opus 36 (Puppets), hasn’t been part of the revival, and the work […]
In his later period of creation, French composer Florent Schmitt would turn to the sonorities of wind instruments for a goodly number of his creations. This may seem surprising for an artist who had made his reputation on his numerous “big orchestra” compositions along with a noteworthy collection of “orientalist” creations. But if we recall […]
